C/ESAR AND 
CLEOPATRA 

A PAGE OF HISTORY 

By 

BERNARD SHAW 



XiTtf 




NEW YORK 

BRENTANO'S 
1915 






Copyright, 1900, by Herbert S. Stone & Co. 



Copyright, 1906, by Brentano'u 



■^. 



K. 









CAESAR AND CLEOPATRA 
IX 



CAESAR AND CLEOPATRA 



ACT I 

An October night on the Syrian border of Egypt towards 
the end of the XXXIII Dynasty, in the year 706 by Roman 
computation, afterwards reckoned by Christian computation as 
48 B.C. A great radiance of silver fire, the dawn of a moonlit 
night, is rising in the east. The stars and the cloudless sky are 
our own contemporaries, nineteen and a half centuries younger 
titan we know them; but you would not guess that from, their ap- 
pearance. Below them are two notable drawbacks of civiliza- 
tion: a palace, and soldiers. The palace, an old, low, Syrian 
building of whitened mud, is not so ugly as Buckingham Palace; 
and the officers in the courtyard are more higMy civilized than 
modern English officers: for example, they do not dig up the 
corpses of iheir dead enemies and mutilate them, as we dug up 
Cr^ „well and the Mahdi. They are in two groups: one intent 
on the gambling of their captain Belzanor, a warrior of fifty, 
who, with his spear on the ground beside his knee, is stooping to 
throw dice with a sly -looking young Persian recruit; the other 
gathered about a guardsman who has fust finished telling a 
naughty story (still current in English barracks) at which they 
are laughing uproariously. They are about a dozen in number, 
all highly aristocratic young Egyptian guardsmen, handsomely 
equipped with weapons and armor, very unEnglish in point of 
not being ashamed of and uncomfortable in their professional 
dress; on the contrary, rather ostentatiously and arrogantly war- 
like, as valuing themselves on iheir military caste. 

Belzanor is a typical veteran, tough and wilful; prompt, 
capable and crafty where brute force will serve; helpless and 



6 Csesar and Cleopatra Act I 

boyish when it will not: an effective sergeant, an incompetent 
general, a deplorable dictator. Would, if influentially connected, 
be employed in the two last capacities by a modern European 
State on the strength of his success in the first. Is rather to be 
pitied just nwv in view of the fact that Julius Ceesar is invading 
his country. Not knowing this, is intent on his game with the 
Persian, whom, as a foreigner, he considers quite capable of 
cheating him. 

His subalterns are mostly handsome young fellows whose 
interest in the game and the story symbolizes with tolerable com* 
pleteness the main interests in life of which they are conscious. 
Their spears are leaning against the walls, or lying on the 
ground ready to their hands. The corner of the courtyard forms 
a triangle of which one side is the front of the palace, with a 
doorway, the other a wall with a gateway. The storytellers are 
on the palace side: the gamblers, on the gateway side. Close to 
the gatexoay, against the wall, is a stone block high enough to 
enable a Nubian sentinel, standing on it, to look over the wall. 
The yard is lighted by a torch stuck in the wall. As the 
laughter from the group round the storyteller dies away, the 
kneeling Persian, winning the throw, snatches up the stake 
from the ground. 

Belzanor. By Apis, Persian, thy gods are good to thee. 

The Persian. Try yet again, O captain. Double or quits ! 

Belzanor. No more. I am not in the vein. 

The Sentinel {poising his javelin as he peers over the wall). 
Stand. Who goes there? 

They all start, listening. A strange voice replies from without. 

Voice. The bearer of evil tidings. 

Belzanor (calling to the sentry). Pass him. 

The Sentinel (grounding his javelin). Draw near, O 
bearer of evil tidings. 

Belzanor (pocketing the dice and picking up his spear). 
Let us receive this man with honor. He bears evil tidings. 

The guardsmen seize their spears and gather about the gate, 
leaving a way through for the new comer. 



Act I Caesar and Cleopatra 7 

Persian (rising from his knee). Are evil tidings, then, so 
honorable ? 

Belzanor. O barbarous Persian, hear my instruction. 
In Egypt the bearer of good tidings is sacrificed to the gods as 
a thank offering; but no god will accept the blood of the mes- 
senger of evil. When we have good tidings, we are careful to 
send them in the mouth of the cheapest slave we can find. 
Evil tidings are borne by young noblemen who desire to bring 
themselves into notice. (They join the rest at the gate.) 

The Sentinel. Pass, O young captain; and bow the head 
in the House of the Queen. 

Voice. Go anoint thy javelin with fat of swine, O Black- 
amoor; for before morning the Romans will make thee eat it 
to the very butt. 

The owner of the voice, a fairhaired dandy, dressed in a 
different fashion to that affected by the guardsmen, but no less 
extravagantly, comes through the gateway laughing, He is 
somewhat battlestained; and his left forearm, bandaged, comes 
through a torn sleeve. In his right hand he carries a Roman 
sword in its sheath. He swaggers down the courtyard, the Per- 
sian on his right, Belzanor on his left, and the guardsmen crowd- 
ing down behind, him. 

Belzanor. Who art thou that laughest in the House of 
Cleopatra the Queen, and in the teeth of Belzanor, the captain 
of her guard ? 

The New Comer. I am Bel Affris, descended from the 
gods, 

Belzanor (ceremoniously). Hail, cousin! 

All (except the Persian). Hail, cousin! 

Persian. All the Queen's guards are descended from the 
gods, O stranger, save myself. I am Persian, and descended 
from many kings. 

Bel Affris (to the guardsmen). Hail, cousins! (To the 
Persian, condescendingly) Hail, mortal! 

Belzanor. You have been in battle, Bel Affris; and you 
are a soldier among soldiers. You will not let the Queen's 
women have the first of your tidings. 



g Caesar and Cleopatra Act I 

Bel Affris. I have no tidings, except that we shall have 
our throats cut presently, women, soldiers, and all. 

Persian (to Belzanor). I told you so. 

The Sentinel (who has been listening). Woe, alas! 

Bel Affris (calling to him). Peace, peace, poor Ethiop: 
destiny is with the gods who painted thee black. (To Belza- 
nor) What has this mortal (indicating the Persian) told you ? 

Belzanor, He says that the Roman Julius Csesar, who 
has landed on our shores with a handful of followers, will make 
himself master of Egypt. He is afraid of the Roman soldiers. 
(The guardsmen laugh with boisterous scorn.) Peasants, 
brought up to scare crows and follow the plough. Sons of 
smiths and millers and tanners! And we nobles, consecrated 
to arms, descended from the gods! 

Persian. Belzanor: the gods are not always good to their 
poor relations. 

Belzanor (hotly, to the Persian). Man to man, are we 
worse than the slaves of Caesar ? 

Bel Affris (stepping between tliem). Listen, cousin. Man 
to man, we Egyptians are as gods above the Romans. 

The Guardsmen (exultingly) . Aha! 

Bel Affris. But this Caesar does not pit man against man : 
he throws a legion at you where you are weakest as he throws a 
stone from a catapult; and that legion is as a man with one 
head, a thousand arms, and no religion. I have fought against 
them; and I know. 

Belzanor (derisively). Were you frightened, cousin? 

The guardsmen roar with laughter, their eyes sparkling at the 
wit of their captain. 

Bel Affris. No, cousin; but I was beaten. They were 
frightened (perhaps) ; but they scattered us like chaff. 

The guardsmen, much damped, utter a growl of contemptuous 
disgust. 

Belzanor. Could you not die ? 

Bel Affris. No: that was too easy to be worthy of a de- 
scendant of the gods. Besides, there was no time: all was over 
in a moment. The attack came just where we least expected it. 



Act I Caesar and Cleopatra 9 

Belzanor. That shews that the Romans are cowards. 

Bel Affris. They care nothing about cowardice, these 
Romans: they fight to win. The pride and honor of war are 
nothing to them. 

Persian. Tell us the tale of the battle. What befell ? 

The Guardsmen (gathering eagerly round Bel Affris). Ay : 
the tale of the battle. 

Bel Affris. Know then, that I am a novice in the guard 
of the temple of Ra in Memphis, serving neither Cleopatra nor 
her brother Ptolemy, but only the high gods. We went a 
journey to inquire of Ptolemy why he had driven Cleopatra 
into Syria, and how we of Egypt should deal with the Roman 
Pompey, newly come to our shores after his defeat by Caesar 
at Pharsalia. What, think ye, did we learn? Even that 
Caesar is coming also in hot pursuit of his foe, and that Ptolemy 
has slain Pompey, whose severed head he holds in readiness to 
present to the conqueror. (Sensation among the guardsmen.) 
Nay, more: we found that Caesar is already come; for we had 
not made half a day's journey on our way back when we came 
upon a city rabble flying from his legions, whose landing they 
had gone out to withstand. 

Belzanor. And ye, the temple guard! did ye not with- 
stand these legions ? 

Bel Affris. WTiat man could, that we did. But there 
came the sound of a trumpet whose voice was as the cursing 
of a black mountain. Then saw we a moving wall of shields 
coming towards us. You know how the heart burns w T hen you 
charge a fortified wall; but how if the fortified wall were to 
charge you ? 

The Persian (exulting in having told them so). Did I not 
say it? 

Bel Affris. When the wail came nigh, it changed into 
a line of men — common fellows enough, with helmets, leather 
tunics, and breastplates. Every man of them flung his jave- 
lin: the one that came my way drove through my shield as 
through a papyrus — lo there! (he points to the bandage on his 
left arm) and would have gone through my neck had I not 



10 Caesar and Cleopatra Act I 

stooped. They were charging at the double then, and were 
upon us with short swords almost as soon as their javelins. 
When a man is close to you with such a sword, you can do 
nothing with our weapons : they are all too long. 

The Persian. What did you do ? 

Bel Affris. Doubled my fist and smote my Roman on the 
sharpness of his jaw. He was but mortal after all: he lay 
down in a stupor; and I took his sword and laid it on. (Draw- 
ing the sword) Lo! a Roman sword with Roman blood 
on it! 

The Guardsmen (approvingly). Good! (They take the 
sword and hand it round, examining it curiously.) 

The Persian. And your men ? 

Bel Affris. Fled. Scattered like sheep. 

Belzanor (furiously). The cowardly slaves! Leaving the 
descendants of the gods to be butchered! 

Bel Affris (with acid coolness). The descendants of the 
gods did not stay to be butchered, cousin. The battle was not 
to the strong; but the race was to the swift. The Romans, 
who have no chariots, sent a cloud of horsemen in pursuit, and 
slew multitudes. Then our high priest's captain rallied a 
dozen descendants of the gods and exhorted us to die fighting. 
I said to myself: surely it is safer to stand than to lose my 
breath and be stabbed in the back; so I joined our captain and 
stood. Then the Romans treated us with respect; for no man 
attacks a lion when the field is full of sheep, except for the pride 
and honor of war, of which these Romans know nothing. So 
we escaped with our lives; and I am come to warn you that you 
must open your gates to Caesar; for his advance guard is scarce 
an hour behind me; and not an Egyptian warrior is left stand- 
ing between you and hia legions. 

The Sentinel. Woe, alas! (He throws down his javelin 
and flies into the palace.) 

Belzanor. Nail him to the door, quick ! ( The guardsmen 
rush for him tvith their spears; but he is too quick for them.) 
Now this news will run through the palace like fire through 
stubble. 



Act I Csesar and Cleopatra 11 

Bel Affris. What shall we do to save the women from 
the Romans? 

Belzanor. Why not kill them ? 

Persian. Because we should have to pay blood money for 
some of them. Better let the Romans kill them: it is cheaper. 

Belzanor (awestruck at his brain power). O subtle one! 
O serpent! 

Bel Affris. But your Queen ? 

Belzanor. True: we must carry off Cleopatra. 

Bel Affris. Will ye not await her command? 

Belzanor. Command! a girl of sixteen! Not we. At 
Memphis ye deem her a Queen : here we know better. I will 
take her on the crupper of my horse. When we soldiers have 
carried her out of Caesar's reach, then the priests and tiie nurses 
and the rest of them can pretend she is a queen again, and put 
their commands into her mouth. 

Persian. Listen to me, Belzanor. 

Belzanor. Speak, O subtle beyond thy years. 

The Persian. Cleopatra's brother Ptolemy is at war with 
her. Let us sell her to him. 

The Guardsmen. O subtle one! O serpent! 

Belzanor. We dare not. We are descended from the 
gods; but Cleopatra is descended from the river Nile; and the 
lands of our fathers will grow no grain if the Nile rises not to 
Water them. Without our father's gifts we should live the lives 
of dogs. 

Persian. It is true: the Queen's guard cannot live on its 
pay. But hear me further, O ye kinsmen of Osiris. 

The Guardsmen. Speak, O subtle one. Hear the serpent 
begotten! 

Persian. Have I heretofore spoken truly to you of Caesar, 
when you thought I mocked you ? 

Guardsmen. Truly, truly. 

Belzanor (reluctantly admitting it). So Bel Affris says. 

Persian. Hear more of him, then. This Caesar is a 
great lover of women: he makes them his friends and coun- 
sellors. 



12 Caesar and Cleopatra Act 1 

Belzanor. Faugh ! This rule of women will be the ruin of 
Egypt. 

The Persian. Let it rather be the ruin of Rome! Caesar 
grows old now : he is past fifty and full of labors and battles. 
He is too old for the young women; and the old women are 
too wise to worship him. 

Bel Affris. Take heed, Persian. Caesar is by this time 
almost within earshot. 

Persian. Cleopatra is not yet a woman: neither is she 
wise. But she already troubles men's wisdom. 

Belzanor. Ay: that is because she is descended from the 
river Nile and a black kitten of the sacred White Cat. What 
then? 

Persian. Why, sell her secretly to Ptolemy, and then offer 
ourselves to Caesar as volunteers to fight for the overthrow of 
her brother and the rescue of our Queen, the Great Grand- 
daughter of the Nile. 

The Guardsmen. O serpent! 

Persian. He will listen to us if we come with her picture in 
our mouths. He will conquer and kill her brother, and reign 
in Egypt with Cleopatra for his Queen. And we shall be her 
guard. 

Guardsmen. O subtlest of all the serpents! O admira- 
tion! O wisdom! 

Bel Affris. He will also have arrived before you have 
done talking, O word spinivsr. 

Belzanor. That is true. (An affrighted uproar in the 
palace interrupts him.) Quick: the flight has begun: guard 
the door. (They rush to the door and form a cordon before it 
with their spears. A mob of women-servants and nurses surges 
out. Those in front recoil from the spears, screaming to those 
behind to keep back. Belzanor's voice dominates the dis- 
turbance as he shouts) Back there. In again, unprofitable 
cattle. 

The Guardsmen. Back, unprofitable cattle. 

Belzanor. Send us out Ftatateeta, the Queen's chief 
nurse. 



Act I Caesar and Cleopatra 13 

The Women (calling into the palace). Ftatateeta, Ftata- 
teeta. Come, come. Speak to Belzanor. 

A Woman. Oh, keep back. You are thrusting me on the 
spearheads. 

A huge grim ivoman, her face covered with a network of 
tiny wrinkles, and, her eyes old, large, and wise; sinewy handed, 
very tall, very strong; with the mouth of a bloodhound and the 
jaws of a bulldog, appears on the threslwld. She is dressed 
like a person of consequence in the palace, and confronts the 
guardsmen insolently. 

Ftatateeta. Make way for the Queen's chief nurse. 

Belzanor (with solemn arrogance). Ftatateeta: I am Bel- 
zanor, the captain of the Queen's guard, descended from the 
gods. 

Ftatateeta (retorting his arrogance with interest). Bel- 
zanor: I am Ftatateeta, the Queen's chief nurse; and your 
divine ancestors were proud to be painted on the wall in the 
pyramids of the kings whom my fathers served. 

The women laugh triumphantly. 

Belzanor (with grim humor). Ftatateeta: daughter of a 
long-tongued, swivel-eyed chameleon, the Romans are at 
hand. (A cry of terror from the women: they would fly but 
for the spears.) Not even the descendants of the gods can 
resist them; for they have each man seven arms, each carrying 
seven spears. The blood in their vems is boiling quicksilver; 
and their wives become mothers in three Lours, and are slain 
and eaten the next day. 

A shudder of horror from the women. Ftatateeta, despising 
them and scorning the soldiers, pushes her way through the 
crowd and confronts the spear points undismayed. 

Ftatateeta. Then fly and save yourselves, O cowardly 
sons of the cheap clay gods that are sold to fish porters; and 
leave us to shift for ourselves. 

Belzanor. Not until you have first done our bidding, O 
terror of manhood. Bring out Cleopatra the Queen to us 
and then go whither you will. 

Ftatateeta (with a derisive laugh). Now I know why 



14 Caesar and Cleopatra Act I 

the gods have taken her out of our hands. (The guardsmen 
start and look at one another.) Know, thou foolish soldier, 
that the Queen has been missing since an hour past sun down. 

Belzanor (furiously). Hag: you have hidden her to sell 
to Caesar or her brother. (He grasps her by the left wrist, 
and drags her, helped by a few of the guard, to the middle of 
the courtyard, where, as they fling her on her knees, he draws 
a murderous looking knife.) Where is she? Where is she? 
or— (He threatens to cut her throat!) 

Ftatateeta (savagely). Touch me, dog; and the Nile 
will not rise on your fields for seven times seven years of 
famine. 

Belzanor (frightened, but desperate). I will sacrifice: I 
will pay. Or stay. (To the Persian) You, O subtle one: 
your father's lands lie far from the Nile. Slay her. 

Persian (threatening her with his knife). Persia has but 
one god; yet he loves the blood of old women. WTiere is 
Cleopatra? 

Ftatateeta. Persian: as Osiris lives, I do not know. 
I chid her for bringing evil days upon us by talking to the 
sacred cats of the priests, and carrying them in her arms. 
I told her she would be left alone here when the Romans 
came as a punishment for her disobedience. And now she 
is gone — run away — hidden. I speak the truth. I call 
Osiris to witness 

The Women (protesting officiously). She speaks the truth, 
Belzanor. 

Belzanor. You have frightened the child: she is hiding. 
Search — quick— into the palace— search every corner. 

The guards, led by Belzanor, shoulder their way into the 
palace through the flying crowd of women, who escape through 
the courtyard gate. 

Ftatateeta (screaming). Sacrilege! Men in the Queen's 
chambers! Sa — (Her voice dies away as the Persian puts 
his knife to her throat.) 

Bel Affris (laying a hand on Ftatateeta 9 s left shoulder). 
Forbear her yet a moment, Persian. (To Ftatateeta, very 



Act I Caesar and Cleopatra 15 

significantly) Mother: your gods are asleep or away hunt- 
ing; and the sword is at your throat. Bring us to where the 
Queen is hid, and you shall live. 

Ftatatekta {contemptuously). Who shall stay the sword 
in the hand of a fool, if the high gods put it there? Listen 
to me, ye young men without understanding. Cleopatra 
fears me; but she fears the Romans more. There is but one 
power greater in her eyes than the wrath of the Queen's 
nurse and the cruelty of Caesar; and that is the power of the 
Sphinx that sits in the desert watching the way to the sea. 
What she would have it know, she tells into the ears of the 
sacred cats; and on her birthday she sacrifices to it and decks 
it with poppies. Go ye therefore into the desert and seek 
Cleopatra in the shadow of the Sphinx; and on your heads 
see to it that no harm comes to her. 

Bel Affris (to the Persian) . May we believe this, O subtle 
one? 

Persian. Which way come the Romans? 

Bel Affris. Over the desert, from the sea, by this very 
Sphinx. 

Persian (to Ftatateeta). O mother of guile! O aspic's 
tongue! You have made up this tale so that we two may go 
into the desert and perish on the spears of the Romans. 
(Lifting his knife) Taste death. 

Ftatateeta. Not from thee, baby. (She snatches his 
ankle from under him and flies stooping along hi valace wall, 
vanishing in the darkness within its precinct. Bd Affris 
roars with laughter as the Persian tumbles. The guardsmt', 1 
rush out of the palace with Belzanor and a mob of fugitive*, 
mostly carrying bundles?) 

Persian. Have you found Cleopatra? 

Belzanor, She is gone. We have searched every corner. 

The Nubian Sentinel (appearing at the door of the palace). 
Woe! Alas! Fly, fly! 

Belzanor. What is the matter now? 

The Nubian Sentinel. The sacred white cat has been 
stolen. 



16 Caesar and Cleopatra Act I 

All. Woe! Woe! {General "panic. They all fly with 
cries of consternation. The torch is thrown down and extin- 
guished in the rush. Darkness. The noise of the fugitives 
dies away. Dead silence. Suspense. Then the blackness 
and stillness breaks softly into silver mist and strange airs as 
the windswept harp of Memnon plays at the dawning of the 
moon. It rises full over the desert; and a vast horizon comes 
into relief, broken by a huge shape which soon reveals itself 
in the spreading radiance as a Sphinx pedestalled on the 
sands. The light still clears , until the upraised eyes of the 
image are distinguished looking straight forward and upward 
in infinite fearless vigil, and a mass of color between its great 
paws defines itself as a heap of red poppies on which a girl 
lies motionless, her silken vest heaving gently and regularly 
with the- breathing of a dreamless sleeper, and her braided hair 
glittering in a shaft of moonlight like a bird's winy. 

Suddenly there comes from afar a vaguely fearful sound (it 
might be the bellow of a Minotaur softened by great distance) and 
Memnon's music stops. Silence: then a few faint high-ringing 
trumpet notes. Then silence again. Then a man comes from 
the south with stealing steps, ravished by the mystery of the 
night, all wonder, and halts, lost in contemplation, opposite the 
left flank of the Sphinx, whose bosom, with its burden, is hidden 
from him by its massive shoulder.) 

The Man. Hail, Sphinx: salutation from Julius Caesar! 
I have v; an dered in many lands, seeking the lost regions 
frQIn which my birth into this world exiled me, and the com- 
pany of creatures such as I myself. I have found flocks and 
pastures, men and cities, but no other Caesar, no air native to 
me, no man kindred to me, none who can d ) my day's deed, 
and think my night's thought. In the little world yonder, 
Sphinx, my place is as high as yours in this great desert; only I 
wander, and you sit still; I conquer, and you endure; I work 
and wonder, you watch and wait; I look up and am dazzled, 
look down and am darkened, look round and am puzzled, 
whilst your eyes never turn from looking out — out of the 



Act I Caesar and Cleopatra 17 

world — to the lost region — the home from which we have 
strayed. Sphinx, you and I, strangers to the race of men, are 
no strangers to one another : have I not been conscious of you 
and of this place since I was born? Rome is a madman's 
dream : this is my Reality. These starry lamps of yours I have 
seen from afar in Gaul, in Britain, in Spain, in Thessaly, sig- 
nalling great secrets to some eternal sentinel below, whose post I 
never could find. And here at last is their sentinel — an image 
of the constant and immortal part of my life, silent, full of 
thoughts, alone in the silver desert. Sphinx, Sphinx: I have 
climbed mountains at night to hear in the distance the stealthy 
footfall of the winds that chase your sands in forbidden play — 
our invisible children, O Sphinx, laughing in whispers. My 
way hither was the way of destiny; for I am he of whose genius 
you are the symbol : part brute, part woman, and part God — 
nothing of man in me at all. Have I read your riddle, Sphinx ? 

The Girl (who has wakened, and peeped cautiously from 
her nest to see who is speaking). Old gentleman. 

Cesar (starting violently > and clutching his sword). Im- 
mortal gods ! 

The Girl. Old gentleman: don't run away. 

Cesar (stupefied). "Old gentleman: don't run away!!!" 
This! to Julius Caesar! 

The Girl (urgently). Old gentleman. 

Cesar. Sphinx: you presume on your centuries. I am 
younger than you, though your voice is but a girl's voice 
as yet. 

The Girl. Climb up here, quickly; or the Romans will 
come and eat you. 

Cesar (running foncard past the Sphinx's shoulder, and see- 
ing her). A child at its breast! a divine child! 

The Girl. Come up quickly. You must get up at its 
side and creep round. 

Cesar (amazed). Who are you ? 

The Girl. Cleopatra, Queen of Egypt. 

Cesar. Queen of the Gypsies, you mean. 

Cleopatra. You must not be disrespectful to me, or the 



18 Caesar and Cleopatra Act I 

Sphinx will let the Romans eat you. Come up. It is quite 
cosy here. 

Caesar (to himself). What a dream! What a magnificent 
dream! Only let me not wake, and I w r ill conquer ten conti- 
nents to pay for dreaming it out to the end. (He climbs to the 
Sphinx's flank, and presently reappears to her on the pedestal, 
stepping round its right shoulder.) 

Cleopatra. Take care. That's right. Now sit down: 
you may have its other paw. (She seats herself comfortably on 
its left paw.) It is very powerful and will protect us; but 
(shivering, and with plaintive loneliness) it would not take any 
notice of me or keep me company. I am glad you have come: 
I was very lonely. Did you happen to see a white cat any- 
where ? 

Caesar (sitting slowly down on the right paw in extreme ivon- 
derment). Have you lost one? 

Cleopatra. Yes: the sacred white cat: is it not dreadful? 
I brought him here to sacrifice him to the Sphinx; but when we 
got a little way from the city a black cat called him, and he 
jumped out of my arms and ran away to it. Do you think that 
the black cat can have been my great-great-great-grand- 
mother ? 

Caesar (staling at her). Your great-great-great-grand- 
mother ! Well, why not ? Nothing would surprise me on this 
night of nights. 

Cleopatra. I think it must have been. My great-grand- 
mother's great-grandmother was a black kitten of the sacred 
white cat; and the river Nile made her his seventh wife. That 
is why my hair is so w T avy. And I always want to be let do as 
I like, no matter w r hether it is the will of the gods or not: that 
is because my blood is made with Nile water. 

Cesar. What are you doing here at this time of night? 
Do you live here ? 

Cleopatra. Of course not: I am the Queen; and I shall 
live in the palace at Alexandria w 7 hen I have killed my brother, 
who drove me out of it. When I am old enough I shall do just 
what I like. I shall be able to poison the slaves and see them 



Act I Caesar and Cleopatra 19 

wriggle, and pretend to Ftatateeta that she is going to be put 
into the fiery furnace. 

Cesar. Hm! Meanwhile why are you not at home and 
in bed ? 

Cleopatra. Because the Romans are coming to eat us all. 
You are not at home and in bed either. 

Caesar (with conviction). Yes I am. I live in a tent; and 
I am now in that tent, fast asleep and dreaming. Do you sup- 
pose that I believe you are real, you impossible little dream 
witch ? 

Cleopatra (giggling and leaning trustfully towards him). 
You are a funny old gentleman. I like you. 

Cesar. Ah, that spoils the dream. Why don't you dream 
that I am young ? 

Cleopatra. I wish you were ; only I think I should be more 
afraid of you. I like men, especially young men with round 
strong arms; but I am afraid of them. You are old and rather 
thin and string}' ; but you have a nice voice; and I like to have 
somebody to talk to, though I think you are a little mad. It is 
the moon that makes you talk to yourself in that silly way. 

Cesar. What ! you heard that, did you ? I was saying my 
prayers to the great Sphinx. 

Cleopatra. But this isn't the great Sphinx. 

Cesar (much disappointed, looking up at the statue) . What ! 

Cleopatra. This is only a dear little kitten of the Sphinx. 
Why, the great Sphinx is so big that it has a temple between 
its paws. This is my pet Sphinx. Tell me: do you think the 
Romans have any sorcerers who could take us away from the 
Sphinx by magic ? 

Cesar. Why? Are you afraid of the Romans? 

Cleopatra (very seriously). Oh, they would eat us if they 
caught us. They are barbarians. Their chief is called Julius 
Caesar. His father was a tiger and his mother a burning 
mountain; and his nose is like an elephant's trunk. (Caesar 
involuntarily rubs his nose.) They all have long noses, and 
ivory tusks, and little tails, and seven arms with a hundred 
arrows in each; and they live on human flesh. 



20 Caesar and Cleopatra Act I 

Cesar. Would you like me to show you a real Roman ? 

Cleopatra (terrified). No. You are frightening me. 

Cesar. No matter : this is only a dream 

Cleopatra (excitedly). It is not a dream: it is not a 
dream. See, see. (She plucks a pin from her hair and jabs it 
repeatedly into his arm.) 

Cesar. Ffff — Stop. (Wrathftdly) How dare you? 

Cleopatra (abashed). You said you were dreaming. 
(Whimpering) I only wanted to shew you 

Caesar (gently) . Come, come : don't cry. A queen mustn't 
cry. (He rubs his arm, wondering at the reality of the smart.) 
Am I awake? (He strikes his hand against the Sphinx to test 
its solidity. It feels so real that he begins to be alarmed, and 
says perplexedly) Yes, I — (quite panicstricken) no: impos- 
sible: madness, madness! (Desperately) Back to camp — 
to camp. (He rises to spring down from the pedestal.) 

Cleopatra (flinging her arms in terror round him). No: 
you shan't leave me. No, no, no: don't go. I'm afraid — 
ufraid of the Romans. 

Cesar (as the conviction that he is really awake forces 
itself on him). Cleopatra: can you see my face well? 

Cleopatra. Yes. It is so white in the moonlight. 

Cesar. Are you sure it is the moonlight that makes me 
look whiter than an Egyptian? (Grimly) Do you notice 
that I have a rather long nose? 

Cleopatra (recoiling, paralyzed by a terrible suspicion). 
Oh! 

Cesar. It is a Roman nose, Cleopatra. 

Cleopatra. Ah ! (With a piercing scream she springs up; 
darts round the left shoulder of the Sphinx; scrambles down 
to the sand; and falls on her knees in frantic supplication, 
shrieking) Bite him in two, Sphinx: bite him in two. I 
meant to sacrifice the white cat — I did indeed — I (Ccesar, 
who has slipped down from the pedestal, touches her on the 
shoulder) Ah! (She buries her head in her arms.) 

Caesar. Cleopatra: shall I teach you a way to prevent 
Caesar from eating you? 



Act I Caesar and Cleopatra 21 

Cleopatra (clinging to him piteously). Oh do, do, do. 
I will steal Ftatateeta's jewels and give them to you. I will 
make the river Nile water your lands twice a year. 

Caesar. Peace, peace, my child. Your gods are afraid 
of the Romans: you see the Sphinx dare not bite me, nor 
prevent me carrying you off to Julius Csesar. 

Cleopatra (in pleading murmurings). You won't, you 
won't. You said you wouldn't. 

Cesar. Csesar never eats women. 

Cleopatra (springing up full of hope). What! 

Cesar (impressively). But he eats girls (she relapses) and 
cats. Now you are a silly little girl; and you are descended 
from the black kitten. You are both a girl and a cat. 

Cleopatra (trembling). And will he eat me ? 

C^sar. Yes; unless you make him believe that you are a 
woman. 

Cleopatra. Oh, you must get a sorcerer to make a 
woman of me. Are you a sorcerer ? 

Cesar. Perhaps. But it will take a long time; and this 
very night you must stand face to face with Csesar in the 
palace of your fathers. 

Cleopatra. No, no. I daren't. 

Cesar. Whatever dread may be in your soul — however 
terrible Csesar may be to you — you must confront him as 
a brave woman and a great queen; and you must feel no 
fear. If your hand shakes: if your voice quavers; then — 
night and death! (She moans.) But if he thinks you worthy 
to rule, he will set you on the throne by his side and make 
you the real ruler of Egypt. 

Cleopatra (despairingly). No: he will find me out: he 
will find me out. 

Cesar (rather mournfully). He is easily deceived by 
women. Their eyes dazzle him; and he sees them not as 
they are, but as he wishes them to appear to him. 

Cleopatra (hopefully). Then we will cheat him. I will 
put on Ftatateeta's head-dress; and he will think me quite 
an old woman. 



22 Caesar and Cleopatra Act I 

Cesar. If you do that he will eat you at one mouthful. 

Cleopatra. But I will give him a cake with my magic 
opal and seven hairs of the white cat baked in it; and 

Cesar (abruptly). Pah! you are a little fool. He will 
eat your cake and you too. (He turns contemptuously from her.) 

Cleopatra (running after him and clinging to him). Oh, 
please, please! I will do whatever you tell me. I will 
be good! I will be your slave. (Again the terrible bellowing 
note sounds across the desert, now closer at hand. It is the 
bucina, the Roman loar trumpet.) 

Cesar. Hark ! 

Cleopatra (trembling). What was that? 

Cesar. Caesar's voice. 

Cleopatra (pulling at his hand). Let us run away. 
Come. Oh, come. 

Cesar. You are safe with me until you stand on your 
throne to receive Caesar. Now lead me thither. 

Cleopatra (only too glad to get away). I will, I will. 
(Again the bucina.) Oh, come, come, come: the gods are 
angry. Do you feel the earth shaking? 

Cesar. It is the tread of Caesar's legions. 

Cleopatra (drawing him away). This w T ay, quickly. 
And let us look for the white cat as we go. It is he that has 
turned you into a Roman. 

Cesar. Incorrigible, oh, incorrigible! Away! (He fol- 
lows her, the bucina sounding louder as they steal across the 
desert. The moonlight wanes: the horizon again shows black 
against the sky, broken only by the fantastic silhouette of the 
Sphinx. The sky itself vanishes in darkness, from which 
there is no relief until the gleam of a distant torch falls on 
great Egyptian pilars supporting the roof of a majestic corri- 
dor. At the further end of this corridor a Nubian slave ap- 
pears carrying the torch. Ccesar, still led by Cleopatra, follows 
him. They ',ome down the corridor, Ccesar peering keenly 
about at the strange architecture, and at the pillar shadows 
between which, as the passing torch makes them hurry noise- 
lessly backwards, figures of men with wings and hawks 9 heads, 



Act I Caesar and Cleopatra 23 

atid vast black marble cats, seem to flit in and out of ambush. 
Further along, the wall turns a corner and makes a spacious 
transept in which Caesar sees, on his right, a throne, and 
behind the throne a door. On each side of the throne is a 
slender pillar ivith a lamp on it.) 

Cesar. What place is this? 

Cleopatra. This is where I sit on the throne when I am 
allowed to wear my crown and robes. (The slave holds his 
torch to shew the throne.) 

Cesar. Order the slave to light the lamps. 

Cleopatra (shyly). Do you think I may? 

Cesar. Of course. You are the Queen. (She hesitates.) 
Go on. 

Cleopatra (timidly, to the slave). Light all the lamps. 

Ftatateeta (suddenly coming from behind the throne). 
Stop. (The slave stops. She turns sternly to Cleopatra, who 
quails like a naughty child.) Who is this you have with you; 
and how dare you order the lamps to be lighted without my 
permission? (Cleopatra is dumb with apprehension.) 

Cesar. Who is she ? 

Cleopatra. Ftatateeta. 

Ftatateeta (arrogantly). Chief nurse to 

Cesar (cutting her short). I speak to the Queen. Be 
silent. (To Cleopatra) Is this how your servants know 
their places? Send her away; and do you (to the slave) do as 
the Queen has bidden. (The slave lights the lamps. Mean- 
while Cleopatra stands hesitating, afraid of Ftatateeta.) You 
are the Queen: send her away. 

Cleopatra (cajoling). Ftatateeta, dear: you must go 
away — just for a little. 

Cesar. You are not commanding her to go away: you 
are begging her. You are no Queen. You will be eaten. 
Farewell. (He turns to go.) 

Cleopatra (clutching him). No, no, no. Don't leave 
me. 

Cesar. A Roman does not stay with queens who are 
afraid of their slaves. 



24 Caesar and Cleopatra Act I 

Cleopatra. I am not afraid. Indeed I am not afraid. 

Ftatateeta. We shall see who is afraid here. (Mena- 
cingly) Cleopatra 

C^sar. On your knees, woman : am I also a child that you 
dare trifle with me ? (He points to the floor at Cleopatra's feet. 
Ftatateeta, half cowed, half savage, hesitates. C&sar calls to 
the Nubian) Slave. (The Nubian comes to him.) Can you 
cut off a head ? ( The Nubian nods and grins ecstatically, show- 
ing all his teeth. Casar takes his sword by the scabbard, ready 
to offer the hilt to the Nubian, and turns again to Ftatateeta, re- 
peating his gesture.) Have you remembered yourself, mistress ? 

Ftatateeta, crushed, kneels before Cleopatra, who can hardly 
believe her eyes. 

Ftatateeta (hoarsely). O Queen, forget not thy servant 
in the days of thy greatness. 

Cleopatra (blazing with excitement). Go. Begone. Go 
away. (Ftatateeta rises with stooped head, and moves back- 
wards towards the door. Cleopatra watches her submission 
eagerly, almost clapping her hands, which are trembling. Sud- 
denly she cries) Give me something to beat her with. (She 
snatches a snake-skin from the throne and dashes after Ftata- 
teeta, whirling it like a scourge in the air. Cwsar makes a 
bound and manages to catch her and hold her while Ftatateeta 
escapes.) 

CiESAR. You scratch, kitten, do you ? 

Cleopatra (breaking from him). I will beat somebody. 
I will beat him. (She attacks the slave.) There, there, 
there ! ( The slave flies for his life up the corridor and vanishes. 
She throws the snake-skin away and jumps on the step of the 
throne with her arms waving, crying) I am a real Queen at 
last — a real, real Queen! Cleopatra the Queen! (Casar 
shakes his head dubiously, the advantage of the change seeming 
open to question from the point of view of the general welfare of 
Egypt. She turns and looks at him exultantly. Then she 
jumps down from the step, runs to him, and flings her arms 
round him rapturously, crying) Oh, I love you for making me 
a Queen. 



Act I Csesar and Cleopatra 25 

Cesar. But queens love only kings. 

Cleopatra. I will make all the men I love kings. I will 
make you a king. I will have many young kings, with round, 
strong arms; and when I am tired of them I will whip them to 
death; but you shall always be my king: my nice, kind, wise, 
good old king. 

Cesar. Oh, my wrinkles, my wrinkles! And my child's 
heart! You will be the most dangerous of all Caesar's con* 
quests. 

Cleopatra (appalled). Caesar! I forgot Caesar. (Anx- 
iously) You will tell him that I am a Queen, will you not ? — 
a real Queen. Listen! (stealthily coaxing him) let us run away 
and hide until Caesar is gone. 

Cesar. If you fear Caesar, you are no true Queen; and 
though you were to hide beneath a pyramid, he would go 
straight to it and lift it with one hand. And then — ! (He 
chops his teeth together.) 

Cleopatra (trembling). Oh! 

Cesar. Be afraid if you dare. (The note of the bucina 
resounds again in the distance. She moans with fear. Caesar 
exults in it, exclaiming) Aha! Caesar approaches the throne 
of Cleopatra, Come: take your place. (He takes her hand 
and leads her to the throne. She is too downcast to speak.) Ho, 
there, Teetatota. How do you call your slaves ? 

Cleopatra (spiritlessly, as she sinks on the throne and cowers 
there, shaking). Clap your hands. 

He claps his hands. Ftatateeta returns. 

Cesar. Bring the Queen's robes, and her crown, and her 
women; and prepare her. 

Cleopatra (eagerly — recovering herself a little). Yes, the 
crown, Ftatateeta: I shall wear the crown. 

Ftatateeta. For whom must the Queen put on her state ? 

Cesar. For a citizen of Rome. A king of kings, Tota- 
teeta. 

Cleopatra (stamping at her). How dare you ask ques- 
tions ? Go and do as you are told. (Ftatateeta goes out with 
a .grim smile. Cleopatra goes on eagerly , to Cwsar) Csesar 



26 Caesar and Cleopatra Act I 

will know that I am a Queen when he sees my crown and 
robes, will he not ? 

Caesar. No. How shall he know that you are not a slave 
dressed up in the Queen's ornaments? 

Cleopatra. You must tell him. 

Caesar. He will not ask me. He will know Cleopatra by 
her pride, her courage, her majesty, and her beauty. (She 
looks very doubtful.) Are you trembling? 

Cleopatra (shivering with dread). No, I — I — (in a very 
sickly voice) No. 

Ftatateeta and three women come in with the regalia. 

Ftatateeta. Of all the Queen's women, these three alone 
are left. The rest are fled. (They begin to deck Cleopatra, 
who submits, pale and motionless.) 

Cesar. Good, good. Three are enough. Poor Csesar 
generally has to dress himself. 

Ftatateeta (contemptuously). The Queen of Egypt is not 
a Roman barbarian. (To Cleopatra) Be brave, my nurs- 
ling. Hold up your head before this stranger. 

Cesar (admiring Cleopatra, and placing the crown on her 
head). Is it sweet or bitter to be a Queen, Cleopatra ? 

Cleopatra. Bitter. 

Cesar. Cast out fear ; and you will conquer Caesar. Tota : 
are the Romans at hand ? 

Ftatateeta. They are at hand; and the guard has fled. 

The Women (wailing subduedly). Woe to us! 

The Nubian comes running down the hall. 

Nubian. The Romans are in the courtyard. (He bolts 
through the door. With a shriek, the women fly after him. 
Ftatateeta 's jaw expresses savage resolution: she does not budge. 
Cleopatra can hardly restrain herself from following them. 
C&sar grips her wrist, and looks steadfastly at her. She stands 
like a martyr.) 

Cesar. The Queen must face Ceesar alone. Answer 
"So be it." 

Cleopatra (white). So be it. 

Cesar (releasing her). Good. 



Act I Csesar and Cleopatra 27 

A tramp and tumult of armed men is heard. Cleopatra's 
terror increases. The bucina sounds close at hand, followed by 
a formidable clangor of trumpets. This is too much for Cleo- 
patra: she utters a cry and darts towards the door. Ftatateeta 
stops her ruthlessly. 

Ftatateeta. You are my nursling. You have said "So 
be it "; and if you die for it, you must make the Queen's word 
good. (She hands Cleopatra to Coesar, who takes her back, 
almost beside herself with apprehension, to the throne?) 

Cesar. Now, if you quail — ! (He seats himself on the 
throne.) 

She stands on the step, all bid unconscious, waiting for death. 
The Roman soldiers troop in tumultuously through the corridor, 
headed by their ensign with his eagle, and their bucinator, a burly 
fellow with his instrument coiled round his body, its brazen bell 
shaped like the head of a howling wolf. When they reach the 
transept, they stare in amazement at the throne; dress into or- 
dered rank opposite it; draw their swords and lift them in the 
air with a shout of Hail, Caesar. Cleopatra turns and 
stares wildly at Ccesar; grasps the situation; and, with a great 
sob of relief t falls into his arms. 

END OF ACT I. 



act n 

Alexandria. A hall on the first floor of the Palace, ending 
in a loggia approached by two steps. Through the arches of 
the loggia the Mediterranean can be seen, bright in the morning 
sun. The clean lofty walls, painted with a procession of the 
Egyptian theocracy, presented in profile as flat ornament, 
arid the absence of mirrors, sham perspectives, stuffy upholstery 
and textiles, make the place handsome, wholesome, simple 
and cool, or, as a rich English manufacturer would express 
it, poor, bare, ridicidous and unhomely. For Tottenham 
Court Road civilization is to this Egyptian civilization as 
glass bead and tattoo civilization is to Tottenham Court Road. 

The young king Ptolemy Dionysus (aged ten) is at the top 
of the steps, on his way in through the loggia, led by his guar- 
dian Pothinus, who has him by the hand. The court is as- 
sembled to receive him. It is made up of men and women 
(some of the women being officials) of various complexions and 
races, mostly Egyptian; some of them, comparatively fair, 
from lower Egypt; some, much darker, from upper Egypt; 
with a few Greeks and Jews. Prominent in a group on 
Ptolemy's right hand is Theodotus, Ptolemy's tutor. Another 
group, on Ptolemy's left, is headed by Achillas, the general of 
Ptolemy's troops. Theodotus is a little old man, whose features 
are as cramped and wizened as his limbs, except his tall straight 
forehead, which occupies more space than all the rest of his 
face. He maintains an air of magpie keenness and pro- 
fundity, listening to what the others say with the sarcastic 
vigilance of a philosopher listening to the exercises of his dis- 
ciples. Achillas is a tall handsome man of thirty-five, with a 
fine black beard curled like the coat of a poodle. Apparently 
not a clever man, but distinguished and dignified. Pothinus 



Act n Caesar and Cleopatra 29 

is a vigorous man of fifty, a eunuch, passionate, energetic and 
quick witted, but of common mind and character; impatient 
and unable to control his temper- He has fine tawny hair, 
like fur. Ptolemy, the King, looks much older than an Eng- 
lish boy of ten; but he has the childish air, the habit of being 
in leading strings, the mixture of impotence and petulance, 
the appearance of being excessively washed, combed and 
dressed by other hands, which is exhibited by court-bred princes 
of all ages. 

All receive the King with reverences. He comes down the 
steps to a chair of state which stands a little to his right, the 
only seat in the hall. Taking his place before it, he looks 
nervously for instructions to Pothinus, who places himself at 
his left hand. 

Pothinus. The King of Egypt has a word to speak. 

Theodotus (in a squeak which he makes impressive by 
sheer self-opinionativeness). Peace for the King's word! 

Ptolemy (without any vocal inflexions: he is evidently 
repeating a lesson). Take notice of this all of you. I am 
the firstborn son of Auletes the Flute Blower who was your 
King. My sister Berenice drove him from his throne and 
reigned in his stead but — but (he hesitates) 

Pothinus (stealthily prompting) — but the gods would not 
suffer 

Ptolemy. Yes — the gods would not suffer — not suffer — 
(he stops; then 9 crestfallen) I forget what the gods would 
not suffer. 

Theodotus. Let Pothinus, the King's guardian, speak 
for the King. 

Pothinus (suppressing his impatience with difficulty). The 
King wished to say that the gods would not suffer the im- 
piety of his sister to go unpunished. 

Ptolemy (Jiastily). Yes: I remember the rest of it. (He 
resumes his monotone) Therefore the gods sent a stranger, 
one Mark Antony, a Roman captain of horsemen, across the 
sands of the desert and he set my father again upon the 



30 Csesar and Cleopatra Act II 

throne. And my father took Berenice my sister and struck 
her head off. And now that my father is dead yet another 
of his daughters, my sister Cleopatra, would snatch the king- 
dom from me and reign in my place. But the gods would 
not suffer (Pothinus coughs admonitorily) — the gods — the gods 

would not suffer 

Pothintjs (prompting) — will not maintain- 



Ptolemy. Oh yes — will not maintain such iniquity, they 
will give her head to the axe even as her sister's. But with 
the help of the witch Ftatateeta she hath cast a spell on the 
Roman Julius Caesar to make him uphold her false pretence 
to rule in Egypt. Take notice then that I will not suffer — 
that I will not suffer — (pettishly, to Pothinus) What is it 
that I will not suffer ? 

Pothinus (suddenly exploding with all the force and em- 
phasis of political passion). The King will not suffer a 
foreigner to take from him the throne of our Egypt. (A 
shout of applause.) Tell the King, Achillas, how many 
soldiers and horsemen follow the Roman? 

Theodottjs. Let the King's general speak! 

Achillas. But two Roman legions, O King. Three 
thousand soldiers and scarce a thousand horsemen. 

The court breaks into derisive laughter; and a great chatter- 
ing begins , amid which Rufio, a Roman officer, appears in 
the loggia. He is a burly, black-bearded man of middle age, 
very blunt, prompt and rough, with small clear eyes, and 
plump nose and cheeks, which, however, like the rest of his 
flesh, are in ironlwrd condition. 

Rufio (from the steps). Peace, ho! (The laughter and 
chatter cease abruptly.) Caesar approaches. 

Theodotus (with much presence of mind). The King 
permits the Roman commander to enter! 

Ccesar, plainly dressed, but wearing an oak wreath to con- 
ceal his baldness, enters from the loggia, attended by Britannus, 
his secretary, a Briton, about forty, tall, solemn, and already 
slightly bald, with a heavy, drooping, hazel-colored moustache 
trained so as to lose its ends in a pair of trim whiskers. He 



Act II Caesar and Cleopatra 31 

is carefully dressed in blue, with portfolio, inkkorn, and reed 
pen at his girdle. His serious air and sense of the importance 
of the business in hand is in marked contrast to the kindly 
interest of Caesar, who looks at the scene, which is new to 
him, with the frank curiosity of a child, and then turns to 
the King's chair: Britannus and Rufio posting themselves 
near the steps at the other side. 

Cesar (looking at Pothinus and Ptolemy). Which is the 
King? the man or the boy? 

Pothinus. I am Pothinus, the guardian of my lord the King. 

Cesar (patting Ptolemy kindly on the shoulder). So you 
are the King. Dull work at your age, eh? (To Pothinus) 
Your servant, Pothinus. (He turns away unconcernedly and 
comes slowly along the middle of the hall, looking from side to 
side at the courtiers until he reaches Achillas.) And this 
gentleman ? 

Theodotus. Achillas, the King's general. 

Cesar (to Achillas, very friendly). A general, eh? I am 
a general myself. But I began too old, too old. Health and 
many victories, Achillas! 

Achillas. As the gods will, Caesar. 

Cesar (turning to Theodotus). And you, sir, are ? 

Theodotus. Theodotus, the King's tutor. 

Cesar. You teach men how to be kings, Theodotus, 
That is very clever of you. (Looking at the gods on the walls 
as he turns away from Theodotus and goes up again to Po- 
thinus). And this place? 

Pothinus. The council chamber of the chancellors of 
the King's treasury, Caesar. 

Cesar. Ah! that reminds me. I want some money. 

Pothinus. The King's treasury is poor, Caesar. 

Cesar. Yes : I notice that there is but one chair in it. 

Rufio (shouting gruffly). Bring a chair there, some of you, 
for Caesar. 

Ptolemy (rising shyly to offer his chair). Caesar 

Cesar (kindly). No, no, my boy: that is your chair of 
state. Sit down. 



32 Caesar and Cleopatra Act II 

He makes Ptolemy sit down again. Meanwhile Rufio, look- 
ing about him, sees in the nearest corner an image of the god Ra, 
represented as a seated man ivith the head of a hawk. Before 
the image is a bronze tripod, about as large as a three-legged 
stool, with a stick of incense burning on it. Rufio, with Roman 
resourcefulness and indifference to foreign superstitions, prompt- 
ly seizes the tripod; shakes off the incense; blows away the ash; 
and dumps it down behind Ccesar, nearly in the middle of the 
hall. 

Rufio. Sit on that, Csesar. 

A shiver runs through the court, followed by a hissing whis- 
per of Sacrilege! 

Cesar {seating himself). Now, Pothinus, to business. I 
am badly in want of money. 

Britannus {disapproving of these informal expressions). 
My master would say that there is a lawful debt due to Rome 
by Egypt, contracted by the King's deceased father to the 
Triumvirate; and that it is Caesar's duty to his country to re- 
quire immediate payment. 

Cesar {blandly). Ah, I forgot. I have not made my 
companions known here. Pothinus: this is Britannus, my 
secretary. He is an islander from the western end of the world, 
a day's voyage from Gaul. {Britannus bows stiffly.) This 
gentleman is Rufio, my comrade in arms. {Rufio nods.) Po- 
thinus: I want 1,600 talents. 

The courtiers, appalled, murmur loudly, and Theodotus and 
Achillas appeal mutely to one another against so monstrous a 
demand. 

Pothinus {aghast). Forty million sesterces! Impossible. 
There is not so much money in the King's treasury. 

C^sar {encouragingly). Only sixteen hundred talents, 
Pothinus. Why count it in sesterces? A sestertius is only 
worth a loaf of bread. 

Pothinus. And a talent is worth a racehorse. I say it is 
impossible. We have been at strife here, because the King's 
sister Cleopatra falsely claims his throne. The King's taxes 
have not been collected for a whole year. 



Act II Caesar and Cleopatra 33 

Cesar. Yes they have, Pothinus. My officers have been 
collecting them all the morning. (Renewed whisper and sen- 
sation, not without some stifled laughter, among the courtiers.) 

Rufio (bluntly). You must pay, Pothinus. Why waste 
words ? You are getting off cheaply enough. 

Pothinus (bitterly). Is it possible that Caesar, the con- 
queror of the world, has time to occupy himself with such a 
trifle as our taxes ? 

Cesar. My friend: taxes are the chief business of a con- 
queror of the world. 

Pothinus. Then take warning, Caesar. This day, the 
treasures of the temples and the gold of the King's treasury 
shall be sent to the mint to be melted down for our ransom in 
the sight of the people. They shall see us sitting under bare 
walls and drinking from wooden cups. And their wrath be 
on your head, Caesar, if you force us to this sacrilege! 

Cesar. Do not fear, Pothinus: the people know how well 
wine tastes in wooden cups. In return for your bounty, I will 
settle this dispute about the throne for you, if you will. What 
say you ? 

Pothinus. If I say no, will that hinder you ? 

Rufio (defiantly). No. 

Cesar. You say the matter has been at issue for a year, 
Pothinus. May I have ten minutes at it ? 

Pothinus. You will do your pleasure, doubtless. 

Cesar. Good! But first, let us have Cleopatra here. 

Theodotus. She is not in Alexandria : she is fled into Syria. 

C^sar. I think not. (To Rufio) Call Totateeta. 

Rufio (calling). Ho there, Teetatota. 

Ftatateeta enters the loggia, and stands arrogantly at the top of 
the steps. 

Ftatateeta. Who pronounces the name of Ftatateeta, 
the Queen's chief nurse ? 

Cesar. Nobody can pronounce it, Tota, except yourself. 
Where is your mistress? 

Cleopatra, who is hiding behind Ftatateeta, peeps out at them, 
laughing. Ccesar rises. 



34 Caesar and Cleopatra Act H 

Caesar. Will the Queen favor us with her presence for a 
moment ? 

Cleopatra (pushing Ftatateeta aside and standing haughtily 
on the brink of the steps). Am I to behave like a Queen? 

Cesar. Yes. 

Cleopatra immediately comes down to the chair of state; seizes 
Ptolemy and drags him out of his seat; then takes his place in 
the chair. Ftatateeta seats herself on the step of the loggia, and 
sits there, watching the scene with sybilline intensity. 

Ptolemy (mortified, and struggling with his tears). Caesar: 
this is how she treats me always. If I am a king why is she 
allowed to take everything from me ? 

Cleopatra. You are not to be King, you little cry-baby. 
You are to be eaten by the Romans. 

Caesar (touched by Ptolemy's distress) . Come here, my boy, 
and stand by me. 

Ptolemy goes over to Ccesar, who, resuming his seat on the 
tripod, takes the boy's hand to encourage him. Cleopatra, furi- 
ously jealous, rises and glares at them. 

Cleopatra (with flaming cheeks). Take your throne: I 
don't want it. (She flings away from the chair, and, approaches 
Ptolemy, who shrinks from her.) Go this instant and sit down 
in your place. 

Cesar. Go, Ptolemy. Always take a throne when it is 
offered to you. 

Rufio. I hope you will have the good sense to follow your 
own advice when we return to Rome, Csesar. 

Ptolemy slowly goes back to the throne, giving Cleopatra a 
wide berth, in evident fear of her hands. She takes his place 
beside C&sar. 

Cesar. Pothinus 

Cleopatra (interrupting him). Are you not going to speak 
tome? 

Cesar. Be quiet. Open your mouth again before I give 
you leave; and you shall be eaten. 

Cleopatra. I am not afraid. A queen must not be afraid. 
Eat my husband there, if you like: h e is afraid 



Act n Csesar and Cleopatra 35 

Cesar (starting) . Your husband ! What do you mean ? 

Cleopatra (pointing to Ptolemy). That little thing. 

The two Romans and the Briton stare at one another in amaze- 
ment. 

Theodotus. Caesar: you are a stranger here, and not con- 
versant with our laws. The kings and queens of Egypt may 
not marry except with their own royal blood. Ptolemy and 
Cleopatra are born king and consort just as they are born 
brother and sister. 

Britannus (shocked). Caesar: this is not proper. 

Theodotus (outraged). How! 

Cesar (recovering his self-possession). Pardon him, 
Theodotus: he is a barbarian, and thinks that the customs of 
his tribe and island are the laws of nature. 

Britannus. On the contrary, Caesar, it is these Egyptians 
who are barbarians; and you do wrong to encourage them. 
I say it is a scandal. 

Cesar. Scandal or not, my friend, it opens the gate of 
peace. (He rises and addresses Pothinus seriously) Pothi- 
nus : hear what I propose. 

Rufio. Hear Caesar there. 

Cesar. Ptolemy and Cleopatra shall reign jointly in 
Egypt. 

Achillas. What of the King's younger brother and 
Cleopatra's younger sister? 

Rufio (explaining). There is another little Ptolemy, 
Caesar: so they tell me. 

Caesar. Well, the little Ptolemy can marry the other 
sister; and we will make them both a present of Cyprus. 

Pothinus (impatiently). Cyprus is of no use to anybody. 

Cesar. No matter: you shall have it for the sake of 
peace. 

Britannus (unconsciously anticipating a later statesman). 
Peace with honor, Pothinus. 

Pothinus (mutinously). Caesar: be honest. The money 
you demand is the price of our freedom. Take it; and leave 
us to settle our own affairs. 



36 Caesar and Cleopatra Act II 

The Bolder Courtiers {encouraged by Pothinus's tone 
and Casar's quietness). Yes, yes. Egypt for the Egyptians! 

The conference now becomes an altercation, the Egyptians 
becoming more and more heated. Casar remains unruffled; 
but Rufio grows fiercer and doggeder, and Britannus haughtily 
indignant. 

Runo (contemptuously). Egypt for the Egyptians! Do 
you forget that there is a Roman army of occupation here, 
left by Aulus Gabinius when he set up your toy king for you ? 

Achillas (suddenly asserting himself). And now under my 
command. I am the Roman general here, Caesar. 

Caesar (tickled by the humor of the situation). And also 
the Egyptian general, eh? 

Pothinus (triumphantly). That is so, Caesar. 

Caesar (to Achillas). So you can make war on the Egyp- 
tians in the name of Rome, and on the Romans — on me, if 
necessary — in the name of Egypt? 

Achillas. That is so, Caesar. 

Caesar. And which side are you on at present, if I may 
presume to ask, general ? 

Achillas. On the side of the right and of the gods. 

Cesar. Hm! How many men have you? 

Achillas. That will appear when I take the field. 

Rufio (truculently). Are your men Romans? If not, it 
matters not how many there are,, provided you are no stronger 
than 500 to ten. 

Pothinus. It is useless to try to bluff us, Rufio. Caesar 
has been defeated before and may be defeated again. A few 
weeks ago Caesar was flying for his life before Pompey: a 
few months hence he may be flying for his life before Cato 
and Juba of Numidia, the African King. 

Achillas (following up Pothinus's speech menacingly). 
What can you do with 4,000 men? 

Theodotus (following up Achillas' s speech with a raucous 
squeak). And without money? Away with you. 

All the Courtiers (shouting fiercely and crowding towards 
Ccesar). Away with you. Egypt for the Egyptians! Begone. 



Act n Csesar and Cleopatra 37 

Rufio bites his beard, too angry to speak. Caesar sits as 
comfortably as if he were at breakfast, and the cat were clam- 
oring for a piece of Finnan-haddie. 

Cleopatra. Why do you let them talk to you like that, 
Caesar? Are you afraid? 

Cesar. Why, my dear, what they say is quite true. 

Cleopatra. But if you go away, I shall not be Queen. 

Cesar. I shall not go away until you are Queen. 

Pothixus. Achillas: if you are not a fool, you will take 
that girl whilst she is under your hand. 

Rufio {daring them). Why not take Caesar as well, 
Achillas ? 

Pothixus {retorting the defiance with interest). Well said, 
Rufio. Why not? 

Rufio. Try, Achillas. {Calling) Guard there. 

The loggia immediately fills with Ccesar 9 s soldiers, who 
stand, sword in hand, at the top of the steps, waiting the icord 
to charge from their centurion, who carries a cudgel. For a 
moment the Egyptians face them proudly: then they retire 
sullenly to their former places. 

Britaxnus. You are Caesar's prisoners, all of you. 

Cesar {benevolently). Oh no, no, no. By no means. 
Caesar's guests, gentlemen. 

Cleopatra. Won't you cut their heads off? 

Cesar. What! Cut off your brother's head? 

Cleopatra. Why not? He would cut off mine, if he got 
the chance. Wouldn't you, Ptolemy? 

Ptolemy {pale and obstinate). I would. I will, too, when 
I grow up. 

Cleopatra is rent by a struggle between her neivly -acquired 
dignity as a queen, and a strong impulse to put out her tongue 
at him. She takes no part in the scene which follows, but 
watches it with curiosity and wonder, fidgeting with the rest- 
lessness of a child, and sitting down on C&sars tripod when 
he rises. 

Pothixus. Caesar: if you attempt to detain us — — 

Rufio. He will succeed, Egyptian: make up your mind 



38 Cassar and Cleopatra Act II 

to that. We hold the palace, the beach, and the eastern 
harbor. The road to Rome is open; znd you shall travel it 
if Caesar chooses. 

Caesar (courteously). I could do no less, Pothinus, to 
secure the retreat of my own soldiers. I am accountable for 
every life among them. But you are free to go. So are 
all here, and in the palace. 

Rufio (aghast at this clemency). What! Renegades and 
all? 

Cesar (softening the expression). Roman army of occu- 
pation and all, Rufio. 

Pothinus (desperately). Then I make a last appeal to 
Caesar's justice. I shall call a witness to prove that but for 
us, the Roman army of occupation, led by the greatest soldier 
in the world, would now have Caesar at its mercy. (Calling 
through the loggia) Ho, there, Lucius Septimius (C&sar 
starts, deeply moved) : if my voice can reach you, come forth 
and testify before Csesar. 

Cesar (shrinking). No, no. 

Theodotus. Yes, I say. Let the military tribune bear 
witness. 

Lucius Septimius, a clean shaven, trim athlete of about 40, 
with symmetrical features, resolute mouth, and handsome, 
thin Roman nose, in the dress of a Roman officer, comes in 
through the loggia and confronts Cwsar, who hides his face 
with his robe for a moment; then, mastering himself, drops it, 
and confronts the tribune with dignity. 

Pothinus. Bear witness, Lucius Septimius. Caesar came 
hither in pursuit of his foe. Did we shelter his foe ? 

Lucius. As Pompey's foot touched the Egyptian shore, 
his heacj ^11 by the stroke of my sword. 

Theodotus (with viperish relish). Under the eyes of his 
wife and child! Remember that, Caesar! They saw it from 
the ship he had just left. We have given you a full and 
sweet measure of vengeance. 

Cesar (with horror). Vengeance! 

Pothinus. Our first gift to you, as your galley came 



Act II Cassar and Cleopatra 39 

into the roadstead, was the head of your rival for the empire 
of the world. Bear witness, Lucius Septimius: is it not so? 

Lucius. It is so. With this hand, that slew Pompey, I 
placed his head at the feet of Caesar. 

C^sar. Murderer! So would you have slain Caesar, had 
Pompey been victorious at Pharsalia. 

Lucius. Woe to the vanquished, Caesar! When I served 
Pompey, I slew as good men as he, only because he con- 
quered them. His turn came at last. 

Theodotus {flatteringly). The deed was not yours, 
Caesar, but ours — nay, mine; for it was done by my counsel. 
Thanks to us, you keep your reputation for clemency, and 
have your vengeance too. 

Cesar. Vengeance! Vengeance!! Oh, if I could stoop to 
vengeance, what would I not exact from you as the price of this 
murdered man's blood. (They shrink back, appalled and dis- 
concerted.) Was he not my son-in-law, my ancient friend, for 
20 years the master of great Rome, for 30 years the compeller of 
victory? Did not I, as a Roman, share his glory? Was the 
Fate that forced us to fight for the mastery of the world, of our 
making ? Am I Julius Caesar, or am I a wolf, that you fling to 
me the grey head of the old soldier, the laurelled conqueror, the 
mighty Roman, treacherously struck down by this callous 
ruffian, and then claim my gratitude for it! (To Lucius Sep- 
timius) Begone: you fill me with horror. 

Lucius (cold and undaunted). Pshaw! you have seen sev- 
ered heads before, Caesar, and severed right hands too, I think; 
some thousands of them, in Gaul, after you vanquished Ver- 
cingetorix. Did you spare him, with all your clemency ? Was 
that vengeance ? 

Caesar. No, by the gods! would that it had been! Ven- 
geance at least is human. No, I say: those severed right 
hands, and the brave Vercingetorix basely strangled in a vault 
beneath the Capitol, were (with shuddering satire) a wise sever- 
ity, a necessary protection to the commonwealth, a duty of 
statesmanship — follies and fictions ten times bloodier than 
honest vengeance! What a fool was I then! To think that 



40 Caesar and Cleopatra Act II 

men's lives should be at the mercy of such fools! {Humbly) 
Lucius Septimius, pardon me : why should the slayer of Vercin- 
getorix rebuke the slayer of Pompey ? You are free to go with 
the rest. Or stay if you will : I will find a place for you in my 
service. 

Lucius. The odds are against you, Caesar. I go. {He 
turns to go out through the loggia.) 

Rufio {full of wrath at seeing his prey escaping). That 
means that he is a Republican. 

Lucius {turning defiantly on the loggia steps). And what 
are you ? 

Rufio. A Caesarian, like all Caesar's soldiers. 

CiESAR {courteously). Lucius: believe me, Caesar is no 
Caesarian. Were Rome a true republic, then were Caesar the 
first of Republicans. But you have made your choice. Fare- 
well. 

Lucius. Farewell. Come, Achillas, whilst there is yet 
time. 

Coesar, seeing that Rufio's temper threatens to get the worse of 
him, puts his hand on his shoulder and brings him down the 
hall out of harm's way, Britannus accompanying them and 
posting himself on Casar's right hand. This movement 
brings the three in a little group to the place occupied by Achillas, 
who moves haughtily away and joins Theodotus on the other 
side. Lucius Septimius goes out through the soldiers in the 
loggia. Pothinus, Theodotus and Achillas follow him with the 
courtiers, very mistrustful of the soldiers, who close up in their 
rear and go out after them, keeping them moving without much 
ceremony. The King is left in his chair, piteous, obstinate, with 
twitching face and fingers. During these movements Rufio 
maintains an energetic grumbling, as follows: — 

Rufio {as Lucius departs). Do you suppose he would let 
us go if he had our heads in his hands? 

Cesar. I have no right to suppose that his ways are any 
baser than mine. 

Rufio. Psha! 

CiESAR. Rufio: if I take Lucius Septimius for my model, 



Act II Caesar and Cleopatra 41 

and become exactly like him, ceasing to be Caesar, will you 
serve me still ? 

Britanxus. Caesar: this is not good sense. Your duty to 
Rome demands that her enemies should be prevented from 
doing further mischief. {Ccesar, whose delight in the moral 
eye-to-business of his British secretary is inexhaustible, smiles 
indulgently.) 

Rufio. It is no use talking to him, Britannus: you may 
save your breath to cool your porridge. But mark this, Caesar. 
Clemency is very well for you ; but what is it for your soldiers, 
who have to fight to-morrow the men you spared yesterday? 
You may give what orders you please; but I tell you that your 
next victory will be a massacre, thanks to your clemency. /, 
for one, will take no prisoners. I will kill my enemies in the 
field; and then you can preach as much clemency as you 
please : I shall never have to fight them again. And now, with 
your leave, I will see these gentry off the premises. {He turns 
to go.) 

Cesar {turning also and seeing Ptolemy). What! have 
they left the boy alone! Oh shame, shame! 

Rufio {taking Ptolemy 9 s hand and making him rise) . Come, 
your majesty ! 

Ptolemy {to Caesar, drawing away his hand from Rufio). 
Is he turning me out of my palace? 

Rufio {grimly). You are welcome to stay if you wish. 

Cesar {kindly). Go, my boy. I will not harm you; but 
you will be safer away, among your friends. Here you are in 
the lion's mouth. 

Ptolemy {turning to go). It is not the lion I fear, but 
{looking at Rufio) the jackal. {He goes out through the 
loggia.) 

C^sar {laughing approvingly). Brave boy! 

Cleopatra {jealous of Caesar s approbation, calling after 
Ptolemy). Little silly. You think that very clever. 

Cesar. Britannus: attend the King. Give him in charge 
to that Pothinus fellow. (Britannus goes out after Ptolemy.) 

Rufio {pointing to Cleopatra). And this piece of goods? 



42 Csesar and Cleopatra Act II 

What is to be done with her? However, I suppose I may 
leave that to you. (He goes out through the loggia.) 

Cleopatra {flushing suddenly and turning on Ccesar). Did 
you mean me to go with the rest ? 

Caesar {a little preoccupied, goes with a sigh to Ptolemy's 
chair, whilst she waits for his answer with red cheeks and 
clenched fists). You are free to do just as you please, Cleo- 
patra. 

Cleopatra. Then you do not care whether I stay or not ? 

Cesar {smiling). Of course I had rather you stayed. 

Cleopatra. Much, much, rather? 

Caesar {nodding). Much, much rather. 

Cleopatra. Then I consent to stay, because I am asked. 
But I do not want to, mind. 

Cesar. That is quite understood. {Calling) Tota- 
teeta. 

Ftatateeta, still seated, turns her eyes on him with a sinister 
expression, but does not move. 

Cleopatra (with a splutter of laughter). Her name is not 
Totateeta: it is Ftatateeta. (Calling) Ftatateeta. (Ftata- 
teeta instantly rises and comes to Cleopatra.) 

Caesar (stumbling over the name). Tfatafeeta will forgive 
the erring tongue of a Roman. Tota : the Queen will hold her 
state here in Alexandria. Engage women to attend upon her; 
and do all that is needful. 

Ftatateeta. Am I then the mistress of the Queen's house- 
hold? 

Cleopatra (sharply). No: / am the mistress of the 
Queen's household. Go and do as you are told, or I will have 
you thrown into the Nile this very afternoon, to poison the poor 
crocodiles. 

Cesar (shocked). Oh no, no. 

Cleopatra. Oh yes, yes. You are very sentimental, 
Caesar; but you are clever; and if you do as I tell you, you will 
soon learn to govern. 

Ccesar, quite dumbfounded by this impertinence, turns in his 
chair and stares at her. 



Act n Caesar and Cleopatra 43 

Ftatateeta, smiling grimly, and showing a splendid set of 
teeth, goes, leaving them alone together. 

Cesar. Cleopatra: I really think I must eat you, after all. 

Cleopatra (kneeling beside him and looking at him with 
eager interest, half real, half affected to shew how intelligent she 
is). You must not talk to me now as if I were a child. 

Cesar. You have been growing up since the Sphinx in- 
troduced us the other night; and you think you know more 
than I do already. 

Cleopatra {taken down, and anxious to justify herself) . No : 
that would be very silly of me: of course I know that. But — 
{suddenly) are you angry with me ? 

Cesar. No. 

Cleopatra {only half believing him). Then why are you 
so thoughtful? 

Cesar {rising). I have work to do, Cleopatra. 

Cleopatra {drawing back) . Work! {Offended) You are tired 
of talking to me; and that is your excuse to get away from me. 

Cesar {sitting down again to appease her). Well, well: 
another minute. But then — work! 

Cleopatra. Work! what nonsense! You must remem- 
ber that you are a king now: I have made you one. Kings 
don't work. 

Cesar. Oh! Who told you that, little kitten? Eh? 

Cleopatra. My father was King of Egypt; and he never 
worked. But he was a great king, and cut off my sister's 
head because she rebelled against him and took the throne 
from him. 

Cesar. Well; and how did he get his throne back again? 

Cleopatra {eagerly, her eyes lighting up). I will tell you. 
A beautiful young man, with strong round arms, came over 
the desert with many horsemen, and slew my sister's hus- 
band and gave my father back his throne. {Wistfully) I 
was only twelve then. Oh, I wish he would come again, 
now that I am a queen. I would make him my husband. 

Caesar. It might be managed, perhaps; for it was I who 
sent that beautiful young man to help your father. 



44 Caesar and Cleopatra Act II 

Cleopatra (enraptured). You know him! 

Cesar (nodding). I do. 

Cleopatra. Has he come with you? (Ccesar shakes his 
head: she is cruelly disappointed) Oh, I wish he had, I wish 
he had. If only I were a little older; so that he might not 
think me a mere kitten, as you do! But perhaps that is 
because you are old. He is many, many years younger 
than you, is he not? 

Cesar (as if swallowing a pill) . He is somewhat younger. 

Cleopatra. Would he be my husband, do you think, if 
I asked him? 

Cesar. Very likely. 

Cleopatra. But I should not like to ask him. Could 
you not persuade him to ask me — without knowing that I 
wanted him to? 

Cesar (touched by her innocence of the beautiful young 
man's character). My poor child! 

Cleopatra. Why do you say that as if you were sorry 
for me ? Does he love anyone else ? 

Cesar. I am afraid so. 

Cleopatra (tearfully). Then I shall not be his first 
love. 

Cesar. Not quite the first. He is greatly admired by 
women. 

Cleopatra. I wish I could be the first. But if he loves 
me, I will make him kill all the rest. Tell me: is he still 
beautiful? Do his strong round arms shine in the sun like 
marble ? 

Cesar. He is in excellent condition — considering how 
much he eats and drinks. 

Cleopatra. Oh, you must not say common, earthly 
things about him; for I love him. He is a god. 

Cesar. He is a great captain of horsemen, and swifter 
of foot than any other Roman. 

Cleopatra. What is his real name? 

Cesar (puzzled). His real name? 

Cleopatra. Yes. I always call him Horus, because 



Act II Caesar and Cleopatra 45 

Horus is the most beautiful of our gods. But I want to know 
his real name. 

Cesar. His name is Mark Antony. 

Cleopatra (musically). Mark Antony, Mark Antony, 
Mark Antony! What a beautiful name! (She throws her 
arms round Coesar's neck.) Oh, how I love you for sending 
him to help my father ! Did you love my father very much ? 

Cesar. No, my child; but your father, as you say, never 
worked. I always work. So when he lost his crown he had 
to promise me 16,000 talents to get it back for him. 

Cleopatra. Did he ever pay you? 

Cesar. Not in full. 

Cleopatra. He was quite right: it was too dear. The 
whole world is not worth 16,000 talents. 

Cesar. That is perhaps true, Cleopatra. Those Egyp- 
tians who work paid as much of it as he could drag from 
them. The rest is still due. But as I most likely shall not 
get it, I must go back to my work. So you must run away 
for a little and send my secretary to me. 

Cleopatra (coaxing). No: I want to stay and hear you 
talk about Mark Antony. 

Cesar. But if I do not get to work, Pothinus and the 
rest of them will cut us off from the harbor; and then the 
way from Rome will be blocked. 

Cleopatra. No matter: I don't want you to go back to 
Rome. 

Cesar. But you want Mark Antony to come from it. 

Cleopatra (springing up) . Oh yes, yes, yes : I forgot. Go 
quickly and work, Caesar; and keep the way over the sea open 
for my Mark Antony. (She runs out through the loggia, 
kissing her hand to Mark Antony across the sea.) 

Cesar (going briskly up the middle of the hall to the loggia 
steps). Ho, Britannus. (He is startled by the entry of a 
wounded Roman soldier, who confronts him from the upper 
step.) What now? 

Soldier (pointing to his bandaged head). This, Caesar; 
and two of my comrades killed in the market place. 



46 Caesar and Cleopatra Act II 

Cesar (quiet, but attending). Ay. Why? 

Soldier. There is an army come to Alexandria, calling 
itself the Roman army. 

Cesar. The Roman army of occupation. Ay? 

Soldier. Commanded by one Achillas. 

Cesar. Well? 

Soldier. The citizens rose against us when the army 
entered the gates. I was with two others in the market place 
when the news came. They set upon us. I cut my way out; 
and here I am. 

Caesar. Good. I am glad to see you alive. (Rufio enters 
the loggia hastily, passing behind the soldier to look out through 
one of the arches at the quay beneath.) Rufio, we are besieged. 

Rufio. What ! Already ? 

Cesar. Now or to-morrow: what does it matter? We 
shall be besieged. 

Britannus runs in. 

Britannus. Caesar 

Cesar (anticipating him). Yes: I know. (Rufio and 
Britannus come down the hall from the loggia at opposite sides, 
past Casar, who waits for a moment near the step to say to 
the soldier) Comrade: give the word to turn out on the 
beach and stand by the boats. Get your wound attended 
to. Go. (The soldier hurries out. Ccesar comes down the 
hall between Rufio and Britannus) Rufio: we have some 
ships in the west harbor. Burn them. 

Rufio (staring). Burn them!! 

Cesar. Take every boat we have in the east harbor, 
and seize the Pharos — that island with the lighthouse. Leave 
half our men behind to hold the beach and the quay out- 
side this palace: that is the way home. 

Rufio (disapproving strongly). Are we to give up the city? 

Cesar. We have not got it, Rufio. This palace we hav©; 
and — what is that building next door? 

Rufio. The theatre. 

Cesar. We will have that too: it commands the strand, 
For the rest, Egypt for the Egyptians! 



Act II Caesar and Cleopatra 47 

Rufio. Well, you know best, I suppose. Is that all? 

Caesar. That is all. Are those ships burnt yet? 

Rufio. Be easy: I shall waste no more time. (He runs 
out.) 

Britannus. Caesar: Pothinus demands speech of you. 
In my opinion he needs a lesson. His manner is most in- 
solent. 

Cesar. Where is he? 

Britannus. He waits without. 

Cesar. Ho there! admit Pothinus. 

Pothinus appears in the loggia, and comes down the hall 
very haughtily to Coesar's left hand. 

C,esar. Well, Pothinus? 

Pothinus. I have brought you our ultimatum, Caesar. 

Cesar. Ultimatum! The door was open: you should 
have gone out through it before you declared war. You are 
my prisoner now. (He goes to the chair and loosens his toga.) 

Pothinus (scornfully) . I your prisoner ! Do you know 
that you are in Alexandria, and that King Ptolemy, with 
an army outnumbering your little troop a hundred to one, 
is in possession of Alexandria ? 

Cesar (unconcernedly taking off his toga and throwing it 
on the chair). Well, my friend, get out if you can. And 
tell your friends not to kill any more Romans in the market 
place. Otherwise my soldiers, who do not share my cele- 
brated clemency, will probably kill you. Britannus: pass 
the word to the guard; and fetch my armor. (Britannus 
runs out. Rufio returns.) Well? 

Rufio (pointing from the loggia to a cloud of smoke drifting 
over the harbor). See there! (Pothinus runs eagerly up the 
steps to look out.) 

Cesar. What, ablaze already! Impossible! 

Rufio. Yes, five good ships, and a barge laden with oil 
grappled to each. But it is not my doing: the Egyptians have 
saved me the trouble. They have captured the west harbor. 

Cesar (anxiously). And the east harbor? The light- 
house, Rufio? 



48 Cassar and Cleopatra Act II 

Rufio (with a sudden splutter of raging ill usage, coming 
down to Ccesar and scolding him). Can I embark a legion in 
five minutes ? The first cohort is already on the beach. We 
can do no more. If you want faster work, come and do it 
yourself ? 

Cesar (soothing him). Good, good. Patience, Rufio, 
patience. 

Rufio. Patience! Who is impatient here, you or I? 
Would I be here, if I could not oversee them from that bal- 
cony? 

Cesar. Forgive me, Rufio; and (anxiously) hurry them 
as much as 

He is interrupted by an outcry as of an old man in the ex- 
tremity of misfortune. It draws near rapidly; and Theodotus 
rushes in, tearing his hair, and squeaking the most lamentable 
exclamations. Rufio steps back to stare at him, amazed at his 
frantic condition. Pothinus turns to listen. 

Theodotus (on the steps, with uplifted arms). Horror 
unspeakable! Woe, alas! Help! 

Rufio. What now ? 

Cesar (frowning). Who is slain? 

Theodotus. Slain! Oh, worse than the death of ten 
thousand men! Loss irreparable to mankind! 

Rufio. What has happened, man ? 

Theodotus (rushing down the hall between them). The 
fire has spread from your ships. The first of the seven won- 
ders of the world perishes. The library of Alexandria is in 
flames. 

Rufio. Psha! (Quite relieved, he goes up to the loggia 
and watcJies the preparations of the troops on the beach.) 

Cesar. Is that all? 

Theodotus (unable to believe his senses). All! Csesar: will 
you go down to posterity as a barbarous soldier too ignorant 
to know the value of books ? 

Caesar. Theodotus: I am an author myself; and I tell 
you it is better that the Egyptians should live their lives than 
dream them away with the help of books. 



Act II Ca?sar and Cleopatra 49 

Theodotus (kneeling, with genuine literary emotion: the 
passion of the pedant). Caesar: once in ten generations of 
men, the world gains an immortal book. 

Cesar (inflexible). If it did not flatter mankind, the 
common executioner would burn it. 

Theodotus. Without history, death would lay you be- 
side your meanest soldier. 

Cesar. Death will do that in any case. I ask no better 
grave. 

Theodotus. What is burning there is the memory of 
mankind. 

Cesar. A shameful memory. Let it burn. 

Theodotus (wildly). Will you destroy the past? 

Cesar. Ay, and build the future with its ruins. (Theo- 
dotus, in despair, strikes himself on the temples with his fists.) 
But harken, Theodotus, teacher of kings: you who valued 
Pompey's head no more than a shepherd values an onion, 
and who now kneel to me, with tears in your old eyes, to 
plead for a few sheepskins scrawled with errors. I cannot 
spare you a man or a bucket of water just now; but you shall 
pass freely out of the palace. Now, away with you to Achillas ; 
and borrow his legions to put out the fire. (He hurries him 
to the steps.) 

Pothinus (significantly). You understand, Theodotus: I 
remain a prisoner. 

Theodotus. A prisoner! 

C^sar. Will you stay to talk whilst the memory of man- 
kind is burning? (Calling through the loggia) Ho there! 
Pass Theodotus out. (To Theodotus) Away with you. 

Theodotus (to Pothinus). I must go to save the library. 
(He hurries out.) 

Cesar. Follow him to the gate, Pothinus. Bid him urge 
your people to kill no more of my soldiers, for your sake. 

Pothinus. My life will cost you dear if you take it, 
Caesar. (He goes out after Theodotus) 

Rufio, absorbed in watching the embarkation^ does not notice 
the departure of the two Egyptians. 



50 Caesar and Cleopatra Act n 

Rufio (shouting from the loggia to the beach). All ready, 
there? 

A Centurion (from below). All ready. We wait for 
Caesar. 

Cesar. Tell them Caesar is coming — the rogues! (Call- 
ing) Britannicus. (This magniloquent version of his secre- 
tary's name is one of Ccesar's jokes. In later years it would 
have meant, quite seriously and officially, Conqueror of Britain.) 

Rufio (calling down). Push off, all except the longboat. 
Stand by it to embark, Caesar's guard there. (He leaves the 
balcony and comes down into the hall.) Where are those 
Egyptians? Is this more clemency? Have you let them 
go? 

Cesar (chuckling). I have let Theodotus go to save the 
library. We must respect literature, Rufio. 

Rufio (raging). Folly on folly's head! I believe if you 
could bring back all the dead of Spain, Gaul and Thessaly 
to life, you would do it that we might have the trouble of 
fighting them over again. 

Cesar. Might not the gods destroy the world if their 
only thought were to be at peace next year? (Rufio, out of 
all patience, turns away in anger. Ccesar suddenly grips his 
sleeve, and adds slyly in his ear) Besides, my friend: every 
Egyptian we imprison means imprisoning two Roman sol- 
diers to guard him. Eh? 

Rufio. Agh! I might have known there was some fox's 
trick behind your fine talking. (He gets away from Ccesar 
with an ill-humored shrug, and goes to the balcony for another 
look at the preparations; finally goes out.) 

Cesar. Is Britannus asleep? I sent him for my armor 
an hour ago. (Calling) Britannicus, thou British islander. 
Britannicus! 

Cleopatra runs in through the loggia with Cessans helmet 
and sword, snatched from Britannus, who follows her with a 
cuirass and greaves. They come down to Ccesar, she to his 
left hand, Britannus to his right. 

Cleopatra. I am going to dress you, Csesar. Sit down. 



Act II Csesar and Cleopatra 51 

(He obeys.) These Roman helmets are so becoming! (She 
fakes off his wreath.) Oh! (She bursts out laughing at him.) 

Cesar. What are you laughing at? 

Cleopatra. You're bald (beginning with a big B, and 
ending wiih a splutter). 

Cesar (almost annoyed). Cleopatra! (He rises, for the 
convenience of Britannus, who puts the cuirass on him.) 

Cleopatra. So that is why you wear the wreath — to 
hide it. 

Britannus. Peace, Egyptian: they are the bays of the 
conqueror. (He buckles the cuirass.) 

Cleopatra. Peace, thou: islander! (To Ccesar) You 
should rub your head with strong spirits of sugar, Caesar. 
That will make it grow. 

Cesar (with a wry face). Cleopatra: do you like to be 
reminded that you are very young? 

Cleopatra (pouting). No. 

Cesar (sitting down again, and setting out his leg for 
Britannus, who kneels to put on his greaves). Neither do I 
like to be reminded that I am — middle aged. Let me give 
you ten of my superfluous years. That will make you 26, 
and leave me only — no matter. Is it a bargain? 

Cleopatra. Agreed. 26, mind. (She puts the helmet on 
him.) Oh! How nice! You look only about 50 in it! 

Britaxxus (looking up severely at Cleopatra). You must 
not speak in this manner to Caesar. 

Cleopatra. Is it true that when Caesar caught you on 
that island, you were painted all over blue ? 

Britaxxus. Blue is the color worn by all Britons of good 
standing. In war we stain our bodies blue; so that though 
our enemies may strip us of our clothes and our lives, they 
cannot strip us of our respectability. (He rises.) 

Cleopatra (wiih Cossar's sword). Let me hang this on. 
Now you look splendid. Have they made any statues of 
you in Rome? 

Cesar. Yes, many statues. 

Cleopatra. You must send for one and give it to me. 



52 Caesar and Cleopatra Act II 

Rufio (coming back into the loggia, more impatient than 
ever). Now Csesar: have you done talking? The moment 
your foot is aboard there will be no holding our men back: 
the boats will race one another for the lighthouse. 

Cesar (drawing his sword and trying the edge). Is this 
well set to-day, Britannicus ? At Pharsalia it was as blunt as 
a barrel-hoop. 

Britannus. It will split one of the Egyptian's hairs 
to-day, Caesar. I have set it myself. 

Cleopatra (suddenly throwing her arms in terror round 
Casar). Oh, vou are not really going into battle to be 
killed? 

Caesar. No, Cleopatra. No man goes to battle to be 
killed. 

Cleopatra. But they d o get killed. My sister's husband 
was killed in battle. You must not go. Let h i m go (point- 
ing to Rufio. They all laugh at her). Oh please, please 
don't go. What will happen to m e if you never come back ? 

Caesar (gravely). Are you afraid? 

Cleopatra (shrinking). No. 

Caesar (with quiet authority). Go to the balcony; and 
you shall see us take the Pharos. You must learn to look on 
battles. Go. (She goes, downcast, and looks out from the 
balcony.) That is well. Now, Rufio. March. 

Cleopatra (suddenly clapping her hands). Oh, you will 
not be able to go! 

Cesar. Why? What now? 

Cleopatra. They are drying up the harbor with buckets 
— a multitude of soldiers — over there (pointing out across 
the sea to her left) — they are dipping up the water. 

Rufio (hastening to look). It is true. The Egyptian army ! 
Crawling over the edge of the west harbor like locusts. (With 
sudden anger he strides down to Casar.) This is your accursed 
clemency, Csesar. Theodotus has brought them. 

Cesar (delighted at his own cleverness). I meant him to, 
Rufio. They have come to put out the fire. The library 
will keep them busy whilst we seize the lighthouse. Eh? 



Act II Caesar and Cleopatra 53 

(He rushes out buoyantly through the loggia, followed by 
Britannus.) 

Rufio (disgustedly). More foxing! Agh! (He rushes 
off. A shout from the soldiers announces the appearance of 
Ccesar below.) 

Centurion (below). All aboard. Give way there. (An- 
other shout.) 

Cleopatra (waving her scarf through the loggia arch). 
Goodbye, goodbye, dear Caesar. Come back safe. Good- 
bye! 

end of act n. 



act m 

The edge of the quay in front of the palace, looking out 
west over the east harbor of Alexandria to Pharos island, just 
off the end of which, and connected with it by a narrow mole, 
is the famous lighthouse, a gigantic square tower of white 
marble diminishing in size storey by storey to the top, on which 
stands a cresset beacon. The island is joined to the main land 
by the Heptastadium, a great mole or causeway five miles long 
bounding the harbor on the south. 

In the middle of the quay a Roman sentinel stands on guard, 
pilum in hand, looking out to the lighthouse with strained 
attention, his left hand shading his eyes. The pilum is a 
stout wooden shaft 4^ feet long, with an iron spit about three 
feet long fixed in it. The sentinel is so absorbed that he does 
not notice the approach from the north end of the quay of four 
Egyptian market porters carrying rolls of carpet, preceded by 
Ftatateeta and Apollodorus the Sicilian. Apollodorus is a 
dashing young man of about 24, handsome and debonair, 
dressed with deliberate cestheticism in the most delicate purples 
and dove greys, with ornaments of bronze, oxydized silver, 
and stones of jade and agate. His sword, designed as care- 
fully as a medieval cross, has a blued blade showing through 
an openwork scabbard of purple leather and filagree. The 
porters, conducted by Ftatateeta, pass along the quay behind 
the sentinel to the steps of the palace, where they put down 
their bales and squat on the ground. Apollodorus does not 
pass along with them: he halts, amused by the preoccupation of 
the sentinel. 

Apollodorus (calling to the sentinel). Who goes there, 
eh? 



Act III Caesar and Cleopatra 55 

Sextinel (starting violently and turning with his pilum at 
the charge, revealing himself as a small, wiry, sandy-haired, 
conscientious young man with an elderly face). What's this? 
Stand. Who are you? 

Apollo dorus. I am Apollodorus the Sicilian. W r hy, 
man, what are you dreaming of? Since I came through the 
lines beyond the theatre there, I have brought my caravan 
past three sentinels, all so busy staring at the lighthouse that 
not one of them challenged me. Is this Roman discipline? 

Sentinel. We are not here to watch the land but the 
sea. Caesar has just landed on the Pharos. (Looking at 
Ftatateeta) What have you here? Who is this piece of 
Egyptian crockery ? 

Ftatateeta. Apollodorus: rebuke this Roman dog; and 
bid him bridle his tongue in the presence of Ftatateeta, the 
mistress of the Queen's household. 

Apollodorus. My friend: this is a great lady, who 
stands high with Caesar. 

Sentinel (not at all impressed, pointing to the carpets). 
And what is all this truck? 

Apollodorus. Carpets for the furnishing of the Queen's 
apartments in the palace. I have picked them from the best 
carpets in the world; and the Queen shall choose the best of 
my choosing. 

Sentinel. So you are the carpet merchant? 

Apollodorus (hurt). My friend: I am a patrician. 

Sentinel. A patrician! A patrician keeping a shop in- 
stead of following arms! 

Apollodorus. I do not keep a shop. Mine is a temple 
of the arts. I am a worshipper of beauty. My calling is to 
choose beautiful things for beautiful Queens. My motto is 
- Art for Art's sake. 

Sentinel. That is not the password. 

Apollodorus. It is a universal password. 

Sentinel. I know nothing about universal passwords. 
Either give me the password for the day or get back to your 
shop. 



56 Caesar and Cleopatra Act III 

Ftatateeta, roused by his hostile tone, steals towards the edge 
of the quay with the step of a panther, and gets behind him. 

Apollodorus. How if I do neither? 

Sentinel. Then I will drive this pilum through you. 

Apollodorus. At your service, my friend. (He draws 
his sword, and springs to his guard with unruffled grace.) 

Ftatateeta (suddenly seizing the sentineVs arms from 
behind). Thrust your knife into the dog's throat, Apollo- 
dorus. (The chivalrous Apollodorus laughingly shakes his 
head; breaks ground away from the sentinel towards the palace; 
and lowers his point.) 

Sentinel (struggling vainly). Curse on you! Let me go. 
Help ho! 

Ftatateeta (lifting him from the ground). Stab the little 
Roman reptile. Spit him on your sword. 

A couple of Roman soldiers, with a centurion, come running 
along the edge of the quay from the north end. They rescue 
their comrade, and throw off Ftatateeta, who is sent reeling 
away on the left hand of the sentinel. 

Centurion (an unattractive man of fifty, short in his 
speech and manners, with a vine wood cudgel in his hand). 
How now? What is all this? 

Ftatateeta (to Apollodorus). Why did you not stab him? 
There was time! 

Apollodorus. Centurion: I am here by order of the 
Queen to 

Centurion (interrupting him). The Queen! Yes, yes: 
(to the sentinel) pass him in. Pass all these bazaar people 
in to the Queen, with their goods. But mind you pass no one 
out that you have not passed in — not even the Queen her- 
self. 

Sentinel. This old woman is dangerous: she is as strong 
as three men. She wanted the merchant to stab me. 

Apollodorus. Centurion: I am not a merchant. I am a 
patrician and a votary of art. 

Centurion. Is the woman your wife? 

Apollodorus (horrified). No, no! (Correcting himself 



Act III Csesar and Cleopatra 57 

politely) Not that the lady is not a striking figure in her 
own way. But (emphatically) she is not my wife. 

Ftatateeta (to the Centurion). Roman: I am Ftatateeta, 
the mistress of the Queen's household. 

Centurion. Keep your hands off our men, mistress; or 
I will have you pitched into the harbor, though you were as 
strong as ten men. (To his men) To your posts: march! 
(He returns with his men the way they came.) 

Ftatateeta (looking malignantly after him). We shall see 
whom Isis loves best: her servant Ftatateeta or a dog of a 
Roman. 

Sentinel (to Apollodorus, with a wave of his pilum towards 
the palace). Pass in there; and keep your distance. (Turn- 
ing to Ftatateeta) Come within a yard of me, you old croco- 
dile; and I will give you this (the pilum) in your jaws. 

Cleopatra (calling from the palace). Ftatateeta, Ftata- 
teeta. 

Ftatateeta (looking up, scandalized). Go from the win- 
dow, go from the window. There are men here. 

Cleopatra. I am coming down. 

Ftatateeta (distracted). No, no. What are you dream- 
ing of? O ye gods, ye gods! Apollodorus: bid your men 
pick up your bales; and in with me quickly. 

Apollodorus. Obey the mistress of the Queen's house- 
hold. 

Ftatateeta (impatiently, as the porters stoop to lift the 
bales). Quick, quick: she will be out upon us. (Cleopatra 
comes from the palace and runs across the quay to Ftatateeta.) 
Oh that ever I was born ! 

Cleopatra (eagerly) . Ftatateeta : I have thought of some- 
thing. I w r ant a boat — at once. 

Ftatateeta. A boat! No, no: you cannot. Apollo- 
dorus: speak to the Queen. 

Apollodorus (gallantly). Beautiful queen: I am Apollo- 
dorus the Sicilian, your servant, from the bazaar. I have 
brought you the three most beautiful Persian carpets in the 
world to choose from. 



58 Caesar and Cleopatra Act III 

Cleopatra. I have no time for carpets to-day. Get me 
a boat. 

Ftatateeta. What whim is this? You cannot go on the 
water except in the royal barge. 

Apollodorus. Royalty, Ftatateeta, lies not in the 
barge but in the Queen. (To Cleopatra) The touch of 
your majesty's foot on the gunwale of the meanest boat 
in the harbor will make it royal. (He turns to the harbor 
and calls seaward) Ho there, boatman! Pull in to the 
steps. 

Cleopatra. Apollodorus: you are my perfect knight; 
and I will always buy my carpets through you. (Apollodorus 
bows joyously. An oar appears above the quay; and the boat- 
man, a bullet-headed, vivacious, grinning fellow, burnt almost 
black by the sun, comes up a flight of steps from the water on 
the sentinel 9 s right, oar in hand, and waits at the top.) Can 
you row, Apollodorus? 

Apollodorus. My oars shall be your majesty's wings. 
Whither shall I row my Queen? 

Cleopatra. To the lighthouse. Come. (She makes for 
the steps.) 

Sentinel (opposing her with his pilum at the charge). 
Stand. You cannot pass. 

Cleopatra (flushing angrily). How dare you? Do you 
know that I am the Queen ? 

Sentinel. I have my orders. You cannot pass. 

Cleopatra. I will make Caesar have you killed if you do 
not obey me. 

Sentinel. He will do worse to me if I disobey my officer. 
Stand back. 

Cleopatra. Ftatateeta: strangle him. 

Sentinel (alarmed — looking apprehensively at Ftatateeta, 
and brandishing his pilum). Keep off, there. 

Cleopatra (running to Apollodorus). Apollodorus: make 
your slaves help us. 

Apollodorus. I shall not need their help, lady. (He 
draws his sword.) Now, soldier: choose which weapon you 



Act III Cassar and Cleopatra 59 

will defend yourself with. Shall it be sword against pilum, 
or sword against sword? 

Sentinel. Roman against Sicilian, curse you. Take that. 
(He hurls his pilum at Apollodorus, who drops expertly on one 
knee. The pilum passes whizzing over his head and falls 
harmless. Apollodorus, with a cry of triumph, springs up and 
attacks the sentinel, who draws his sword and defends himself, 
crying) Ho there, guard. Help! 

Cleopatra, half frightened, half delighted, takes refuge 
near the palace, where the porters are squatting among the 
bales. The boatman, alarmed, hurries down the steps out of 
harm 9 s way, but stops, with his head just visible above the 
edge of the quay, to watch the fight. The sentinel is handi- 
capped by his fear of an attack in the rear from Ftatateeta. 
His swordsmanship, which is of a rough and ready sort, is 
heavily taxed, as he has occasionally to strike at her to keep 
her off between a blow and a guard with Apollodorus. The 
Centurion returns with several soldiers. Apollodorus springs 
back towards Cleopatra as this reinforcement confronts him. 

Centurion (coming to the sentinel's right hand). What 
is this ? What now ? 

Sentinel (panting). I could do well enough by myself if 
it weren't for the old woman. Keep her off me: that is all 
the help I need. 

Centurion. Make your report, soldier. What has hap- 
pened? 

Ftatateeta. Centurion: he would have slain the Queen. 

Sentinel (bluntly). I would, sooner than let her pass. 
She wanted to take boat, and go — so she said — to the light- 
house. I stopped her, as I was ordered to; and she set this 
fellow on me. (He goes to pick up his pilum and returns to 
his place with it.) 

Centurion (turning to Cleopatra). Cleopatra: I am loth 
to offend you; but without Caesar's express order we dare not 
let you pass beyond the Roman lines. 

Apollodorus. Well, Centurion; and has not the light- 
house been within the Roman lines since Caesar landed there? 



60 Caesar and Cleopatra Act III 

Cleopatra. Yes, yes. Answer that, if you can. 

Centurion (to Apollodorus) . As for you, Apollodorus, 
you may thank the gods that you are not nailed to the palace 
door with a pilum for your meddling. : - 

Apollodorus (urbanely). My military friend, I was not 
born to be slain by so ugly a weapon. When I fall, it will 
I be (holding up his sword) by this white queen of arms, the 
only weapon fit for an artist. And now that you are con- 
vinced that we do not want to go beyond the lines, let me 
| finish killing your sentinel and depart with the Queen. 

Centurion (as the sentinel makes an angry demonstration). 
Peace there. Cleopatra. I must abide by my orders, and 
not by the subtleties of this Sicilian. You must withdraw 
into the palace and examine your carpets there. 

Cleopatra (pouting). I will not: I am the Queen. Csesar 
does not speak to me as you do. Have Caesar's centurions 
changed manners with his scullions? 

Centurion (sulkily). I do my duty. That is enough for 
me. 

Apollodorus. Majesty: when a stupid man is doing 
something he is ashamed of, he always declares tnat it is his 
duty. 

Centurion (angry). Apollodorus 

Apollodorus (interrupting him with defiant elegance). I 
will make amends for that insult with my sword at fitting 
time and place. Who says artist, says duellist. (To Cleo- 
patra) Hear my counsel, star of the east. Until word comes 
to these soldiers from Csesar himself, you are a prisoner. 
Let me go to him with a message from you, and a present; 
and before the sun has stooped half way to the arms of the sea, 
I will bring you back Caesar's order of release. 

Centurion (sneering at him). And you will sell the 
Queen the present, no doubt. 

Apollodorus. Centurion: the Queen shall have from me, 
without payment, as the unforced tribute of Sicilian taste tG 
Egyptian beauty, the richest of these carpets for her present 
to Csesar. 



Act III Caesar and Cleopatra 01 

Cleopatra (exultantly, to the Centurion). Now you see 
what an ignorant common creature you are! 

Centurion (curtly). Well, a fool and his wares are soon 
parted. (He turns to his men). Two more men to this post 
here; and see that no one leaves the palace but this man and 
his merchandize. If he draws his sword again inside the 
lines, kill him. To your posts. March. 

He goes out, leaving two auxiliary sentinels with the other. 

Apollodorus (with polite goodjellowship). My friends: 
will you not enter the palace and bury our quarrel in a bowl 
of wine? (He takes out his purse, jingling the coins in it.) 
The Queen has presents for you all. 

Sentinel (very sulky). You heard our orders. Get about 
your business. 

First Auxiliary. Yes: you ought to know better. Off 
with you. 

Second Auxiliary (looking longingly at the purse — this 
sentinel is a hooknosed man, unlike his comrade, who is squab 
faced). Do not tantalize a poor man. 

Apollodorus (to Cleopatra), Pearl of Queens: the Cen- 
turion is at hand; and the Roman soldier is incorruptible 
when his officer is looking. I must carry your word to 
Caesar. 

Cleopatra (who has been meditating among the carpets). 
Are these carpets very heavy? 

Apollodorus. It matters not how heavy. There are 
plenty of porters. 

Cleopatra. How do they put the carpets into boats ? Do 
they throw them down? 

Apollodorus. Not into small boats, majesty. It would 
sink them. 

Cleopatra. Not into that man's boat, for instance? 
(Pointing to the boatman.) 

Apollodorus. No. Too small. 

Cleopatra. But you can take a carpet to Caesar in it if 
I send one? 

Apollodorus. Assuredly. 



62 Caesar and Cleopatra Act in 

Cleopatra. And you will have it carried gently down the 
steps and take great care of it? 

Apollodorus. Depend on me. 

Cleopatra. Great, great care? 

Apollodorus. More than of my own body. 

Cleopatra. You will promise me not to let the porters 
drop it or throw it about? 

Apollodorus. Place the most delicate glass goblet in the 
palace in the heart of the roll, Queen; and if it be broken, 
my head shall pay for it. 

Cleopatra. Good. Come, Ftatateeta. (Ftatateeta comes 
to her. Apollodorus offers to squire them into the palace.) No, 
Apollodorus, you must not come. I will choose a carpet for 
myself. You must wait here. (She runs into the palace.) 

Apollodorus (to the porters). Follow this lady (indicating 
Ftatateeta); and obey her. 

The porters rise and take up their bales. 

Ftatateeta (addressing the porters as if they were vermin). 
This way. And take your shoes off before you put your feet 
on those stairs. 

She goes in, followed by the porters with the carpets. Mean- 
while Apollodorus goes to the edge of the quay and looks out 
over the harbor. The sentinels keep their eyes on him malig- 
nantly. 

Apollodorus (addressing the sentinel). My friend — — 

Sentinel (rudely). Silence there. 

First Auxiliary. Shut your muzzle, you. 

Second Auxiliary (in a half whisper, glancing apprehen- 
sively towards the north end of the quay) . Can't you wait a bit ? 

Apollodorus. Patience, worthy three-headed donkey. 
(They mutter ferociously; but he is not at all intimidated.) 
Listen: were you set here to watch me, or to watch the Egyp- 
tians ? 

Sentinel. We know our duty. 

Apollodorus. Then why don't you do it? There is 
something going on over there. (Pointing southwestward to 
the mole.) 



Act III Caesar and Cleopatra 63 

Sentinel (sulkily). I do not need to be told what to do 
by the like of you. 

Apollodorus. Blockhead. (He begins shouting) Ho 
there, Centurion. Hoiho! 

Sentinel. Curse your meddling. (Shouting) Hoiho! 
Alarm ! x\larm ! 

First and Second Auxiliaries. Alarm! alarm! Hoiho! 

The Centurion comes running in with his guard. 

Centurion. What now? Has the old woman attacked 
you again? (Seeing Apollodorus) Are you here still? 

Apollodorus (pointing as before). See there. The Egyp- 
tians are moving. They are going to recapture the Pharos. 
They will attack by sea and land: by land along the great 
mole; by sea from the west harbor. Stir yourselves, my 
military friends: the hunt is up. (A clangor of trumpets from 
several points along the quay.) Aha! I told you so. 

Centurion (quickly). The two extra men pass the alarm 
to the south posts. One man keep guard here. The rest 
with me — quick. 

The two auxiliary sentinels run off to the south. The 
Centurion and his guard run off northward; and immediately 
afterwards the bucina sounds. The four porters come from 
the palace carrying a carpet, followed by Ftatateeta. 

Sentinel (handling his pilum apprehensively). You 
again! (The porters stop.) 

Ftatateeta. Peace, Roman fellow: you are now single- 
handed. Apollodorus: this carpet is Cleopatra's present to 
Caesar. It has rolled up in it ten precious goblets of the 
thinnest Iberian crystal, and a hundred eggs of the sacred 
blue pigeon. On your honor, let not one of them be broken. 

Apollodorus. On my head be it. (To the porters) Into 
the boat with them carefully. 

The porters carry the carpet to the steps. 

First Porter (looking down at the boat). Beware what 
you do, sir. Those eggs of which the lady speaks must 
weigh more than a pound apiece. This boat is too small for 
such a load. 



64 Caesar and Cleopatra Act III 

Boatman {excitedly rushing up the steps). Oh thou inju- 
rious porter! Oh thou unnatural son of a she-camel! (To 
Apollodorus) My boat, sir, hath often carried five men. 
Shall it not carry your lordship and a bale of pigeons' eggs? 
( To the porter) Thru mangey dromedary, the gods shall punish 
thee for this envious wickedness. 

First Porter (stolidly). I cannot quit this bale now to 
beat thee; but another day I will lie in wait for thee. 

Apollodorus (going between them). Peace there. If the 
boat were but a single plank, I would get to Caesar on it. 

Ftatateeta (anxiously). In the name of the gods, Apollo- 
dorus, run no risks with that bale. 

Apollodorus. Fear not, thou venerable grotesque: I 
guess its great worth. (To the porters) Down with it, I say; 
and gently; or ye shall eat nothing but stick for ten days. 

The boatman goes down the steps, followed by the porters 
with the bale: Ftatateeta and Apollodorus watching from the 
edge. 

Apollodorus. Gently, my sons, my children — (with sud- 
den alarm) gently, ye dogs. Lay it level in the stern — so — 
His well. 

Ftatateeta (screaming down at one of the porters). Do 
not step on it, do not step on it. Oh thou brute beast! 

First Porter (ascending). Be not excited, mistress: all 
is well. 

Ftatateeta (panting). All well! Oh, thou hast given 
my heart a turn! (She clutches her side, gasping.) 

The four porters have now come up and are waiting at the 
stairhead to be paid. 

Apollodorus. Here, ye hungry ones. (He gives money 
to the first porter, who holds it in his hand to shew to the others. 
They crowd greedily to see how much it is, quite prepared, 
after the Eastern fashion, to protest to heaven against their 
patron *s stinginess. But his liberality overpowers them.) 

First Porter. O bounteous prince! 

Second Porter. O lord of the bazaar! 

Third Porter. O favored of the gods! 



Act III Caesar and Cleopatra 65 

Fourth Porter. O father to all the porters of the market! 

Sentinel (enviously, threatening them fiercely with his 
pilum). Hence, dogs: off. Out of this. (They fly before 
him northward along the quay.) 

Apollodorus. Farewell, Ftatateeta. I shall be at the 
lighthouse before the Egyptians. (He descends the steps.) 

Ftatateeta. The gods speed thee and protect my nursling! 

The sentry returns from chasing the porters and looks down 
at the boat, standing near the stairhead lest Ftatateeta should 
attempt to escape. 

Apollodorus (from beneath, as the boat moves off). Fare- 
well, valiant pilum pitcher. 

Sentinel. Farewell, shopkeeper. 

Apollodorus. Ha, ha! Pull, thou brave boatman, pull. 
Soho-o-o-o-o! (He begins to sing in barcarolle measure to 
the rhythm of the oars) 

My heart, my heart, spread out thy wings: 
Shake off thy heavy load of love — 

Give me the oars, O son of a snail. 

Sentinel (threatening Ftatateeta). Now mistress: back 
to your henhouse. In with you. 

Ftatateeta (falling on her knees and stretching her hands 
over the waters). Gods of the seas, bear her safely to the 
shore! 

Sentinel. Bear who safely ? What do you mean ? 

Ftatateeta (looking darkly at him). Gods of Egypt and 
of Vengeance, let this Roman fool be beaten like a dog by his 
captain for suffering her to be taken over the waters. 

Sentinel. Accursed one: is she then in the boat? (He 
calls over the sea) Hoiho, there, boatman! Hoiho! 

Apollodorus (singing in the distance). 

My heart, my heart, be whole and free: 
Love is thine only enemy. 

Meanwhile Rufio, the morning 9 s fighting done, sits munch- 
ing dates on a faggot of brushwood outside the door of the 



66 Caesar and Cleopatra Act in 

lighthouse) which towers gigantic to the clouds on his left. 
His helmet, full of dates, is between his knees; and a leathern 
bottle of wine is by his side. Behind him the great stone ped- 
estal of the lighthouse is shut in from the open sea by a low 
stone parapet, with a couple of steps in the middle to the broad 
coping. A huge chain with a hook hangs down from the 
lighthouse crane above his head. Faggots like the mie he sits 
on lie beneath it ready to be drawn up to feed the beacon. 

C&sar is standing on the step at the parapet looking out 
anxiously, evidently ill at ease. Britannus comes out of the 
lighthouse door. 

Rufio. Well, my British islander. Have you been up to 
the top ? 

Britannus. I have. I reckon it at 200 feet high. 

Rufio. Anybody up there? 

Britannus. One elderly Tyrian to work the crane; and 
his son, a well conducted youth of 14. 

Rufio (looking at the chain). What! An old man and a 
boy work that! Twenty men, you mean. 

Britannus. Two only, I assure you. They have coun- 
terweights, and a machine with boiling water in it which I do 
not understand: it is not of British design. They use it to 
haul up barrels of oil and faggots to burn in the brazier on 
the roof. 

Rufio. But 

Britannus. Excuse me: I came down because there are 
messengers coming along the mole to us from the island, I 
must see what their business is. (He hurries out past the 
lighthouse.) 

Cesar (coming away from the parapet, shivering and out 
of sorts). Rufio: this has been a mad expedition. We shall 
be beaten. I wish I knew how our men are getting on with 
that barricade across the great mole. 

Rufio (angrily). Must I leave my food and go starving 
to bring you a report? 

Cesar (soothing him nervously). No, Rufio, no. Eat, my 
son, eat. (He takes another turn, Rufio chewing dates mean- 



Act in Caesar and Cleopatra 67 

while.) The Egyptians cannot be such fools as not to storm 
the barricade and swoop down on us here before it is finished. 
It is the first time I have ever run an avoidable risk. I 
should not have come to Egypt. 

Rufio. An hour ago you were all for victory. 

Cesar {apologetically). Yes: I was a fool — rash, Rufio — 
boyish. 

Rufio. Boyish! Not a bit of it. Here. (Offering him a 
handful of dates.) 

(Lesar. What are these for? 

Rufio. To eat. That's what's the matter with you. 
When a man comes to your age, he runs down before his 
midday meal. Eat and drink; and then have another look 
at our chances. 

Cesar (taking the dates). My age! (He shakes his head 
and bites a date.) Yes, Rufio: I am an old man — worn out 
now — true, quite true. (He gives way to melancholy con- 
templation, and eats another date.) Achillas is still in his 
prime: Ptolemy is a boy. (He eats another date, and plucks 
up a little.) Well, every dog has his day; and I have had 
mine: I cannot complain. (With sudden cheerfulness) These 
dates are not bad, Rufio. (Britannus returns, greatly excited, 
with a leathern bag. Ccesar is himself again in a moment.) 
What now? 

Britannus (triumphantly). Our brave Rhodian mariners 
have captured a treasure. There! (H e throws the bag down 
at C cesar's feet.) Our enemies are delivered into our hands. 

Cesar. In that bag? 

Britannus. Wait till you hear, Caesar. This bag con- 
tains all the letters which have passed between Pompey's 
party and the army of occupation here. 

Cesar. Well? 

Britannus (impatient of Ccesar 9 s slowness to grasp the 
situation). Well, we shall now know who your foes are. 
The name of every man who has plotted against you since you 
crossed the Rubicon may be in these papers, for all we know, 

Cesar. Put them in the fire. 



68 Csesar and Cleopatra Act III 

Britannus. Put them — (he gasps) !!!! 

CAESAR. In the fire. Would you have me waste the next 
three years of my life in proscribing and condemning men 
who will be my friends when I have proved that my friend- 
ship is worth more than Pompey's was — than Cato's is. O 
incorrigible British islander : am I a bull dog, to seek quarrels 
merely to shew how stubborn my jaws are? 

Britannus. But your honor — the honor of Rome 

Cesar. I do not make human sacrifices to my honor, as 
your Druids do. Since you will not burn these, at least I can 
drown them. (He picks up the bag and throws it over the 
parapet into the sea.) 

Britannus. Csesar: this is mere eccentricity. Are traitors 
to be allowed to go free for the sake of a paradox? 

Rufio (rising). Caesar: when the islander has finished 
preaching, call me again. I am going to have a look at the 
boiling w^ater machine. (He goes into the lighthouse.) 

Britannus (with genuine feeling). O Caesar, my great 
master, if I could but persuade you to regard life seriously, 
as men do in my country! 

Cesar. Do they truly do so, Britannus ? 

Britannus. Have you not been there? Have you not 
seen them ? What Briton speaks as you do in your moments 
of levity ? What Briton neglects to attend the services at the 
sacred grove? What Briton wears clothes of many colors as 
you do, instead of plain blue, as all solid, well esteemed men 
should? These are moral questions with us. 

Caesar. Well, well, my friend: some day I shall settle 
down and have a blue toga, perhaps. Meanwhile, I must 
get on as best I can in my flippant Roman way. (Apollo- 
dorus comes past the lighthouse) What now? 

Britannus (turning quickly, and challenging the stranger 
tvith official haughtiness). What is this? Who are you? 
How did you come here? 

Apollodorus. Calm yourself, my friend: I am not going 
to eat you. I have come by boat, from Alexandria, with 
precious gifts for Caesar. 



Act m Cassar and Cleopatra 69 

Cesar. From Alexandria! 

Britaxxus {severely). That is Caesar, sir. 

Rufio (appearing at the lighthouse door). What's the 
matter now ? 

Apollodorus. Hail, great Caesar! I am Apollodorus the 
Sicilian, an artist. 

Britaxxus. An artist! Why have they admitted this 
vagabond ? 

Cesar. Peace, man. Apollodorus is a famous patrician 
amateur 

Britaxxus (disconcerted). I crave the gentleman's par- 
don. (To Coesar) I understood him to say that he was a 
professional. (Somewhat out of countenance, he allows 
Apollodorus to approach C&sar, changing places with him. 
Rufio, after looking Apollodorus up and down with marked 
disparagement, goes to the other side of the platform.) 

Cesar. You are welcome, Apollodorus. What is your 
business ? 

Apollodorus. First, to deliver to you a present from the 
Queen of Queens. 

Cesar. Who is that? 

Apollodorus. Cleopatra of Egypt. 

Cesar (taking him into his confidence in his most winning 
manner). Apollodorus: this is no time for playing with 
presents. Pray you, go back to the Queen, and tell 
her that if all goes well I shall return to the palace this 
evening. 

Apollodorus. Caesar: I cannot return. As I approached 
the lighthouse, some fool threw a great leathern bag into the 
sea. It broke the nose of my boat; and I had hardly time to 
get myself and my charge to the shore before the poor little 
cockleshell sank. 

Cesar. I am sorry, Apollodorus. The fool shall be re- 
buked. Well, well: what have you brought me? The 
Queen will be hurt if I do not look at it. 

Rufio. Have we time to waste on this trumpery? The 
Queen is only a child. 



70 Caesar and Cleopatra Act in 

Caesar. Just so : that is why we must not disappoint her. 
What is the present, Apollodorus ? 

Apollodorus. Caesar: it is a Persian carpet — a beauty! 
And in it are — so I am told — pigeons' eggs and crystal gob- 
lets and fragile precious things. I dare not for my head 
have it carried up that narrow ladder from the causeway. 

Rufio. Swing it up by the crane, then. We will send 
the eggs to the cook; drink our wine from the goblets; and 
the carpet will make a bed for Caesar. 

Apollodorus. The crane! Caesar: I have sworn to 
tender this bale of carpet as I tender my own life. 

Cesar {cheerfully). Then let them swing you up at the 
same time; and if the chain breaks, you and the pigeons' 
eggs will perish together. {He goes to the chain and looks up 
along it> examining it curiously.) 

Apollodorus {to Britannus). Is Caesar serious? 

Brit annus. His manner is frivolous because he is an 
Italian; but he means what he says. 

Apollodorus. Serious or not, he spake well. Give me 
a squad of soldiers to work the crane. 

Britannus. Leave the crane to me. Go and await the 
descent of the chain. 

Apollodorus. Good. You will presently see me there 
{turning to them all and pointing with an eloquent gesture 
to the sky above the parapet) rising like the sun with my 
treasure. 

He goes back the way he came. Britannus goes into the 
lighthouse. 

Rufio {ill-humoredly). Are you really going to wait here 
for this foolery, Caesar? 

C^sar {backing away from the crane as it gives signs of 
worlcing). Why not? 

Rufio. The Egyptians will let you know why not if they 
have the sense to make a rush from the shore end of the mole 
before our barricade is finished. And here we are waiting 
like children to see a carpet full of pigeons' eggs. 

The chain rattles, and is drawn up high enough to clear 



Act in Csesar and Cleopatra 71 

the pirapet. It then swings round out of sight behind the 
lighthouse. 

C^sar. Fear not, my son Rufio. When the first Egyptian 
takes his first step along the mole, the alarm will sound; and 
we two will reach the barricade from our end before the 
Egyptians reach it from their end — we two, Rufio: I, the old 
man, and you, his biggest boy. And the old man will be there 
first. So peace; and give me some more dates. 

Apollodorus (from the causeway beloiv). Soho, haul 
away. So-ho-o-o-o ! ( The chain is drawn up and comes round 
again from behind the lighthouse. Apollodorus is swinging in 
the air with his bale of carpet at the end of it. He breaks into 
song as he soars above the pirapet) 

Aloft, aloft, behold the blue 

That never shone in woman's eyes — 

Easy there: stop her. (He ceases to rise.) Further round/ 
( The chain comes forward above the platform.) 

Rufio (calling up). Lower away there. (The chain and 
its load begin to descend.) 

Apollodorus (calling up). Gently — slowly — mind the eggs. 

Rufio (calling up). Easy there — -slowly — slowly. 

Apollodorus and the bale are deposited safely on the flags in 
the middle of the platform, Rufio and Ccesar help Apollodorus 
to cast off the chain from the bale. 

Rufio. Haul up. 

The chain rises clear of their heads with a rattle. Britannus 
comes from the lighthouse and helps them to uncord the carpet. 

Apollodorus (when the cords are loose). Stand off, my 
friends^ let Caesar see. (He throws tlie carpet open.) 

Rufio. Nothing but a heap of shawls. Where are the 
pigeons' eggs? 

Apollodorus. Approach, Csesar; and search for them 
among the shawls. 

Rufio (drawing his sword). Ha, treachery! Keep back, 
Caesar: I saw the shawl move: there is something alive there. 

Britannus (drawing his sword). It is a serpent. 



72 Caesar and Cleopatra Act III 

Apollodorus. Dares Caesar thrust his hand into the sack 
where the serpent moves? 

Rufio (turning on him). Treacherous dog 

Caesar. Peace. Put up your swords. Apollodorus : your 
serpent seems to breathe very regularly. (He thrusts his 
hand under the shawls and draws out a bare arm.) This is a 
pretty little snake. 

Rufio (drawing out the other arm). Let us have the rest 
of you. 

They pull Cleopatra up by the wrists into a sitting position. 
Britannus, scandalized, sheathes his sword with a drive of 
protest. 

Cleopatra (gasping). Oh, I'm smothered. Oh, Caesar; 
a man stood on me in the boat; and a great sack of something 
fell upon me out of the sky; and then the boat sank, and 
then I was swung up into the air and bumped down. 

Caesar (petting her as she rises and takes refuge on his 
breast). Well, never mind: here you are safe and sound at 
last. 

Rufio. Ay; and now that she is here, what are we to do 
with her? 

Britannus. She cannot stay here, Csesar, without the 
companionship of some matron. 

Cleopatra (jealously, to C&sar, who is obviously per~ 
plexed). Aren't you glad to see me? 

Cesar. Yes, yes; I am very glad. But Rufio is very 
angry; and Britannus is shocked. 

Cleopatra (contemptuously). You can have their heads 
cut off, can you not ? 

Caesar. They would not be so useful with their heads cut 
off as they are now, my sea bird. 

Rufio (to Cleopatra). We shall have to go away presently 
and cut some of your Egyptians' heads off. How will you 
like being left here with the chance of being captured by that 
little brother of yours if we are beaten ? 

Cleopatra. But you mustn't leave me alone. Caesar 
you will not leave me alone, will you ? 



Act in Caesar and Cleopatra 73 

Rufio. What! not when the trumpet sounds and all our 
lives depend on Caesar's being at the barricade before the 
Egyptians reach it? Eh? 

Cleopatra. Let them lose their lives : they are only soldiers. 

Cesar {gravely). Cleopatra: when that trumpet sounds, 
we must take every man his life in his hand, and throw it in 
the face of Death. And of my soldiers who have trusted 
me there is not one whose hand I shall not hold more sacred 
than your head. {Cleopatra is overwhelmed. Her eyes fill 
with tears.) Apollodorus: you must take her back to the 
palace. 

Apollodorus. Am I a dolphin, Caesar, to cross the seas 
with young ladies on my back? My boat is sunk: all yours 
are either at the barricade or have returned to the city. I 
will hail one if I can: that is all I can do. {He goes back to 
the causeway.) 

Cleopatra {struggling with her tears). It does not mat- 
ter. I will not go back. Nobody cares for me. 

Cesar. Cleopatra 

Cleopatra. You want me to be killed. 

Cesar {still more gravely). My poor child: your life 
matters little here to anyone but yourself. {She gives way 
altogether at this, casting herself down on the faggots weeping. 
Suddenly a great tumult is heard in the distance, bucinas and 
trumpets sounding through a storm of shouting. Britannus 
rushes to the parapet and looks along the mole. Ccesar and 
Rufio turn to one another with quick intelligence.) 

C^esar. Come, Rufio. 

Cleopatra {scrambling to her knees and clinging to him). 
No, no. Do not leave me, Caesar. {He snatches his skirt 
from her clutch.) Oh! 

Britannus {from the parapet). Caesar: we are cut off. 
The Egyptians have landed from the west harbor between 
us and the barricade!!! 

Rufio {running to see). Curses! It is true. We are 
caught like rats in a trap. 

Cesar {ruthfully). Rufio, Rufio: my men at the barricade 



74 Caesar and Cleopatra Act ni 

are between the sea party and the shore party, I have mur- 
dered them. 

Rufio (coming back from the parapet to Ccesar's right 
hand). Ay: that comes of fooling with this girl here. 

Apollodorus (coming up quickly from the causeway). 
Look over the parapet, Caesar. 

Caesar. We have looked, my friend. We must defend 
ourselves here. 

Apollodorus. I have thrown the ladder into the sea. 
They cannot get in without it. 

Rufio. Ay; and we cannot get out. Have you thought 
of that? 

Apollodorus. Not get out! Why not? You have ships 
in the east harbor. 

Britannus (hopefully, at the parapet). The Rhodian gal- 
leys are standing in towards us already. (Cmsar quickly 
joins Britannus at the parapet.) 

Rufio (to Apollodorus, impatiently). And by what road 
are we to walk to the galleys, pray ? 

Apollodorus (with gay, defiant rhetoric). By the road 
that leads everywhere — the diamond path of the sun and 
moon. Have you never seen the child's shadow play of The 
Broken Bridge? " Ducks and geese with ease get over" — eh? 
(He throws away his cloak and cap, and binds his sword on 
his back.) 

Rufio. What are you talking about? 

Apollodorus. I will shew you. (Calling to Britannus) 
How far off is the nearest galley ? 

Britannus. Fifty fathom. 

CAESAR. No, no: they are further off than they seem in 
this clear air to your British eyes. Nearly quarter of a mile, 
Apollodorus. 

Apollodorus. Good. Defend yourselves here until I 
send you a boat from that galley. 

Rufio. Have you wings, perhaps? 

Apollodorus. Water wings, soldier. Behold! 

He runs up the steps between Ccesar and Britannus to the 



Act in Caesar and Cleopatra 75 

coping of the parapet; springs into the air; and plunges head 
foremost into the sea. 

Cesar (like a schoolboy — wildly excited). Bravo, bravo! 
(Throiuing off his cloak) By Jupiter, I will do that too. 

Rufio (seizing him). You are mad. You shall not. 

Cesar. Why not? Can I not swim as well as he? 

Rufio (frantic). Can an old fool dive and swim like a 
young one? He is twenty-five and you are fifty. 

Cesar (breaking loose from Rufio) . Old ! ! ! 

Britannus (shocked). Rufio: you forget yourself. 

Cesar. I will race you to the galley for a week's pay, 
father Rufio. 

Cleopatra. But me ! me ! ! me ! ! ! what is to become of m e ? 

Cesar. I will carry you on my back to the galley like a 
dolphin. Rufio: when you see me rise to the surface, throw 
her in : I will answer for her. And then in with you after her, 
both of you. 

Cleopatra. No, no, NO. I shall be drowned. 

Britaxnus. Caesar: I am a man and a Briton, not a fish. 
I must have a boat. I cannot swim. 

Cleopatra. Neither can I. 

Cesar (to Britannus). Stay here, then, alone, until I 
recapture the lighthouse: I will not forget you. Now, Rufio. 

Rufio. You have made up your mind to this folly? 

Cesar. The Egyptians have made it up for me. What 
else is there to do? And mind where you jump: I do not 
want to get your fourteen stone in the small of my back as I 
come up. (He runs up the steps and stands on the coping.) 

Britannus (anxiously). One last word, Caesar. Do not 
let yourself be seen in the fashionable part of Alexandria 
until you have changed your clothes. 

Cesar (calling over the sea). Ho, Apollodorus: (he points 
skyward and quotes the barcarolle) 

The white upon the blue above — 

Apollodorus (swimming in the distance) 
Is purple on the green below— 



76 Caesar and Cleopatra Act TH 

Cesar (exultantly). Aha! (He plunges into the sea.) 

Cleopatra (running excitedly to the steps). Oh, let mo 
see. He will be drowned. (Rufio seizes her.) Ah — ah — - 
ah — ah! (He pitches her screaming into the sea. Rufio and 
Britannus roar with laughter.) 

Rufio (looking down after her). He has got her. (To 
Britannus) Hold the fort, Briton. Csesar will not forget 
you. (He springs off.) 

Britannus (running to the steps to watch them as they 
swim). All safe, Rufio? 

Rufio (swimming). All safe. 

CiESAR (swimming further off). Take refuge up there by 
the beacon; and pile the fuel on the trap door, Britannus. 

Britannus (calling in reply). I will first do so, and then 
commend myself to my country's gods. (A sound of cheering 
from the sea. Britannus gives full vent to his excitement) 
The boat has reached him: Hip, hip, hip, hurrah! 

BND OF ACT III. 



ACT IV 

Cleopatra's sousing in the east harbor of Alexandria was 
in October 48 B. C. In March 47 she is passing the after- 
noon in her boudoir in the palace, among a bevy of her ladies, 
listening to a slave girl who is playing the harp in the middle 
of the room. The harpist's master, an old musician, with a 
lined face, prominent brows, white beard, moustache and eye- 
brows twisted and horned at the ends, and a consciously keen 
and pretentious expression, is squatting on the floor close to 
her on her right, watching her performance. Ftatateeta is in 
attendance near the door, in front of a group of female slaves. 
Except the harp player all are seated: Cleopatra in a chair 
opposite the door on the other side of the room; the rest on the 
ground. Cleopatra's ladies are all young, the most conspicuous 
being Charmian and Iras, her favorites. Charmian is a 
hatchet faced, terra cotta colored little goblin, swift in her 
movements, and neatly finished at the hands and feet. Iras 
is a plump, goodnatured creature, rather fatuous, with a pro- 
fusion of red hair, and a tendency to giggle on the slightest 
provocation. 

Cleopatra. Can I 

Ftatateeta {insolently, to the player). Peace, thou! The 
Queen speaks. {The player stops.) 

Cleopatra {to the old musician). I want to learn to play 
the harp with my own hands. Caesar loves music. Can you 
teach me ? 

Musician. Assuredly I and no one else can teach the 
Queen. Have I not discovered the lost method of the an- 
cient Egyptians, who could make a pyramid tremble by 
touching a bass string? All the other teachers are quacks: 
I have exposed them repeatedly. 



78 Caesar and Cleopatra Act IV 

Cleopatra. Good: you shall teach me. How long will 
it take ? 

Musician. Not very long: only four years. Your Maj- 
esty must first become proficient in the philosophy of Pythag- 
oras. 

Cleopatra. Has she (indicating the slave) become pro- 
ficient in the philosophy of Pythagoras? 

Musician. Oh, she is but a slave. She learns as a dog 
learns. 

Cleopatra. Well, then, I will learn as a dog learns; for 
she plays better than you. You shall give me a lesson every 
day for a fortnight. (The musician hastily scrambles to his 
feet and bows profoundly.) After that, whenever I strike a 
false note you shall be flogged; and if I strike so many that 
there is not time to flog you, you shall be thrown into the Nile 
to feed the crocodiles. Give the girl a piece of gold; and send 
them away. 

Musician (much taken aback). But true art will not be 
thus forced. 

Ftatateeta (pushing him out). What is this? Answer- 
ing the Queen, forsooth. Out with you. 

He is pushed out by Ftatateeta, the girl following with her 
harp, amid the laughter of the ladies and slaves. 

Cleopatra. Now, can any of you amuse me? Have 
you any stories or any news? 

Iras. Ftatateeta 

Cleopatra. Oh, Ftatateeta, Ftatateeta, always Ftata- 
teeta. Some new tale to set me against her. 

Iras. No: this time Ftatateeta has been virtuous. (All 
the ladies laugh — not the slaves.) Pothinus has been trying 
to bribe her to let him speak with you. 

Cleopatra (wrathfully) . Ha! you all sell audiences with 
me, as if I saw whom you please, and not whom I please. I 
should like to know how much of her gold piece that harp 
girl will have to give up before she leaves the palace. 

Iras. We can easily find out that for you. 

The ladies laugh. 



Act IV Caesar and Cleopatra 79 

Cleopatra (frowning). You laugh; but take care, take 
care. I will find out some day how to make myself served 
as Caesar is served. 

Charmian. Old hooknose! (They laugh again.) 

Cleopatra (revolted). Silence. Charmian: do not you 
be a silly little Egyptian fool. Do you know why I allow 
you all to chatter impertinently just as you please, instead 
of treating you as Ftatateeta would treat you if she were 
Queen ? 

Charmian. Because you try to imitate Caesar in every- 
thing; and he lets everybody say what they please to him. 

Cleopatra. No: but because I asked him one day why 
he did so; and he said "Let your women talk; and you will 
learn something from them." What have I to learn from 
them? I said. "What they are," said he; and oh! you 
should have seen his eye as he said it. You would have 
curled up, you shallow things. (They laugh. She turns 
fiercely on Iras) At whom are you laughing — at me or at 
Caesar? 

Iras. At Caesar. 

Cleopatra. If you were not a fool, you would laugh at 
me; and if you were not a coward you would not be afraid 
to tell me so. (Ftatateeta returns.) Ftatateeta: they tell me 
that Pothimis has offered you a bribe to admit him to my 
presence. 

Ftatateeta (protesting). Now by my father's gods 

Cleopatra (cutting her short despotically). Have I not 
told you not to deny things? You would spend the day 
calling your father's gods to witness to your virtues if I let 
you. Go take the bribe; and bring in Pothinus. (Ftatateeta 
is about to reply.) Don't answer me. Go. 

Ftatateeta goes out; and Cleopatra rises and begins to prowl 
to and fro between her chair and the door, meditating. All 
rise and stand. 

Iras (as she reluctantly rises). Heigho! I wi^h Caesar 
were back in Rome. 

Cleopatra (threateningly). It will be a bad day for you 



80 Caesar and Cleopatra Act IV 

all when he goes. Oh, if I were not ashamed to let him see 
that I am as cruel at heart as my father, I would make you 
repent that speech! Why do you wish him away? 

Charmian. He makes you so terribly prosy and serious 
and learned and philosophical. It is worse than being re- 
ligious, at our ages. {The ladies laugh.) 

Cleopatra. Cease that endless cackling, will you. Hold 
your tongues. 

Charmian {with mock resignation). Well, well: we must 
try to live up to Caesar. 

They laugh again. Cleopatra rages silently as she continues 
to prowl to and fro. Ftatateeta comes back with Pothinus 9 
who halts on the threshold 

Ftatateeta {at the door). Pothinus craves the ear of the-— — 

Cleopatra. There, there: that will do: let him come in. 
{She resumes her seat. All sit down except Pothinus, who 
advances to the middle of the room. Ftatateeta takes her for- 
mer place.) Well, Pothinus: what is the latest news from 
your rebel friends? 

Pothinus {haughtily). I am no friend of rebellion. And 
a prisoner does not receive news. 

Cleopatra. You are no more a prisoner than I am — 
than Caesar is. These six months we have been besieged in 
this palace by my subjects. You are allowed to walk on the 
beach among the soldiers. Can I go further myself, or can 
Caesar ? 

Pothinus. You are but a child, Cleopatra, and do not 
understand these matters. 

The ladies laugh. Cleopatra looks inscrutably at him. 

Charmian. I see you do not know the latest news, Pothinus. 

Pothinus. What is that? 

Charmian. That Cleopatra is no longer a child. Shall 
I tell you how to grow much older, and much, much wiser 
in one day? 

Pothinus. I should prefer to grow wiser without growing 
older. 

Charmian. Well, go up to the top of the lighthouse; and 



Act IV Csesar and Cleopatra 81 

get somebody to take you by the hair and throw you into the 
sea. {The ladies laugh.) 

Cleopatra. She is right, Pothinus: you will come to the 
shore with much conceit washed out of you. {The ladies 
laugh. Cleopatra rises impatiently.) Begone, all of you. I 
will speak with Pothinus alone. Drive them out, Ftatateeta. 
{They run out laughing. Ftatateeta shuts the door on them.) 
What are you waiting for ? 

Ftatateeta. It is not meet that the Queen remain alone 
with ■ 

Cleopatra {interrupting her). Ftatateeta: must I sacri- 
fice you to your father's gods to teach you that I am Queen of 
Egypt, and not you ? 

Ftatateeta {indignantly). You are like the rest of them. 
You want to be what these Romans call a New Woman. 
{She goes out 9 banging the door.) 

Cleopatra {sitting down again). Now, Pothinus: why 
did you bribe Ftatateeta to bring you hither ? 

Pothinus {studying her gravely). Cleopatra: what they 
tell me is true. You are changed. 

Cleopatra. Do you speak with Caesar every day for six 
months: and you will be changed. 

Pothinus. It is the common talk that you are infatuated 
with this old man. 

Cleopatra. Infatuated? What does that mean? Made 
foolish, is it not? Oh no: I wish I were. 

Pothinus. You wish you were made foolish! How so? 

Cleopatra. When I was foolish, I did what I liked, 
except when Ftatateeta beat me; and even then I cheated 
her and did it by stealth. Now that Caesar has made me 
wise, it is no use my liking or disliking; I do what must be 
done, and have no time to attend to myself. That is not 
happiness; but it is greatness. If Caesar were gone, I think 
I could govern the Egyptians; for what Caesar is to me, I am 
to the fools around me. 

Pothinus {looking hard at her). Cleopatra: this may be 
the vanity of youth. 



82 Caesar and Cleopatra Act IV 

Cleopatra. No, no: it is not that I am so clever, but 
that the others are so stupid. 

Pothinus {musingly). Truly, that is the great secret. 

Cleopatra. Well, now tell me what you came to say? 

Pothinus {embarrassed). I! Nothing. 

Cleopatra. Nothing ! 

Pothinus. At least — to beg for my liberty: that is all. 

Cleopatra. For that you would have knelt to Caesar. 
No, Pothinus: you came with some plan that depended on 
Cleopatra being a little nursery kitten. Now that Cleopatra 
is a Queen, the plan is upset. 

Pothinus {bowing his head submissively). It is so. 

Cleopatra {exultant). Aha! 

Pothinus {raising his eyes keenly to hers). Is Cleopatra 
then indeed a Queen, and no longer Caesar's prisoner and slave ? 

Cleopatra. Pothinus: we are all Caesar's slaves — all we 
in this land of Egypt — whether we will or no. And she who 
is wise enough to know this will reign when Caesar departs. 

Pothinus. You harp on Caesar's departure. 

Cleopatra. What if I do? 

Pothinus. Does he not love you? 

Cleopatra. Love me! Pothinus: Caesar loves no one. 
Who are those we love? Only those whom we do not hate: 
all people are strangers and enemies to us except those we 
love. But it is not so with Caesar. He has no hatred h> 
him: he makes friends with everyone as he does with dogs 
and children. His kindness to me is a wonder: neither 
mother, father, nor nurse have ever taken so much care for 
me, or thrown open their thoughts to me so freely. 

Pothinus. Well: is not this love? 

Cleopatra. What! When he will do as much for the 
first girl he meets on his way back to Rome ? Ask his slave, 
Britannus: he has been just as good to him. Nay, ask his 
very horse! His kindness is not for anything in m e : it is in 
his own nature. 

Pothinus. But how can you be sure that he does not love 
you as men love women? 



Act IV Csesar and Cleopatra 83 

Cleopatra. Because I cannot make him jealous. I have 
tried. 

Pothinus. Hm! Perhaps I should have asked, then, do 
you love him? 

Cleopatra. Can one love a god ? Besides, I love another 
Reman: one whom I saw long before Caesar — no god, but a 
man — one who can love and hate — one whom I can hurt and 
who would hurt me. 

Pothinus. Does Caesar know this? 

Cleopatra. Yes. 

Pothinus. And he is not angry. 

Cleopatra. He promises to send him to Egypt to please 
me! 

Pothinus. I do not understand this man? 

Cleopatra (with superb contempt) . You understand 
Caesar! How could you? (Proudly) I do — by instinct. 

Pothinus (deferentially, after a moment's thought). Your 
Majesty caused me to be admitted to-day. What message 
has the Queen for me? 

Cleopatra. This. You think that by making my brother 
king, you will rule in Egypt, because you are his guardian 
and he is a little silly. 

Pothinus. The Queen is pleased to say so. 

Cleopatra. The Queen is pleased to say this also. That 
Caesar will eat up you, and Achillas, and my brother, as a 
cat eats up mice; and that he will put on this land of Egypt 
as a shepherd puts on his garment. And when he has done 
that, he will return to Rome, and leave Cleopatra here as his 
viceroy. 

Pothinus (breaking out wrathfully) . That he will never 
do. We have a thousand men to his ten; and we will drive 
him and his beggarly legions into the sea. 

Cleopatra (with scorn, getting up to go). You rant like 
any common fellow. Go, then, and marshal your thousands; 
and make haste; for Mithridates of Pergamos is at hand with 
reinforcements for Caesar. Caesar has held you at bay with 
two legions: we shall see what he will do with twenty. 



84 Caesar and Cleopatra Act IV 

Pothinus . Cleopatra- 



Cleopatra. Enough, enough: Caesar has spoiled me for 
talking to weak things like you. (She goes out. Pothinus , 
with a gesture of rage, is following, when Ftatateeta enters and 
stops him.) 

Pothinus. Let me go forth from this hateful place. 

Ftatateeta. What angers you? 

Pothinus. The curse of all the gods of Egypt be upon 
her! She has sold her country to the Roman, that she may 
buy it back from him with her kisses. 

Ftatateeta. Fool: did she not tell you that she would 
have Caesar gone? 

Pothinus. You listened? 

Ftatateeta. I took care that some honest woman should 
be at hand whilst you were with her. 

Pothinus. Now by the gods 

Ftatateeta. Enough of your gods! Caesar's gods are all 
powerful here. It is no use you coming to Cleopatra: you 
are only an Egyptian. She will not listen to any of her own 
race: she treats us all as children. 

Pothinus. May she perish for it! 

Ftatateeta (hatefully). May your tongue wither for that 
wish! Go! send for Lucius Septimius, the slayer of Pompey. 
He is a Roman: may be she will listen to him. Begone! 

Pothinus (darkly). I know to whom I must go now. 

Ftatateeta (suspiciously). To whom, then? 

Pothinus. To a greater Roman than Lucius. And mark 
this, mistress. You thought, before Caesar came, that Egypt 
should presently be ruled by you and your crew in the name 
of Cleopatra. I set myself against it 

Ftatateeta (interrupting him — wrangling). Ay; that it 
might be ruled by you and your crew in the name of Ptol- 
emy. 

Pothinus. Better me, or even you, than a woman with 
a Roman heart; and that is what Cleopatra is now become. 
Whilst I live, she shall never rule. So guide yourself ac- 
cordingly. (He goes out.) 



Act IV Caesar and Cleopatra 85 

It is by this time drawing on to dinner time. Tlie table is 
laid on the roof of the palace; and thither Rufio is now climb- 
ing, ushered by a majestic palace official, wand of office in 
hand, and followed by a slave carrying an inlaid stool. After 
many stairs they emerge at last into a massive colonnade on 
the roof. Light curtains are drawn between the columns on 
the north and east to soften the westering sun. The official 
leads Rufio to one of these shaded sections. A cord for pidling 
the curtains apart hangs down between the pillars. 

The Official {bowing). The Roman commander will 
await Csesar here. 

The slave sets down the stool near the southernmost column, 
and slips out through the curtains. 

Rufio {sitting down, a little blown). Pouf! That was a 
climb. How high have we come? 

The Official. We are on the palace roof, O Beloved of 
Victory ! 

Rufio. Good! the Beloved of Victory has no more stairs 
to get up. 

A second official enters from the opposite end, walking 
backwards. 

The Second Official. Caesar approaches. 

Ccesar, fresh from the bath, clad in a new tunic of purple 
silk, comes in, beaming and festive, followed by two slaves 
carrying a light couch, which is hardly more than an elabo- 
rately designed bench. They place it near the northmost of the 
two curtained columns. When this is done they slip out 
through the curtains; and the two officials, formally bowing, 
follow them. Rufio rises to receive Ccesar. 

Cesar {coming over to him). Why, Rufio! {Surveying his 
dress with an air of admiring astonishment) A new baldrick! 
A new golden pommel to your sword! And you have had 
your hair cut! But not your beard — ? impossible! {He 
sniffs at Rufio 9 s beard.) Yes, perfumed, by Jupiter Olympus! 

Rufio {growling). Well: is it to please myself? 

Cesar {affectionately). No, my son Rufio, but to please 
me — to celebrate my birthday. 



86 Caesar and Cleopatra Act IV 

Rufio (contemptuously). Your birthday! You always 
have a birthday when there is a pretty girl to be flattered or an 
ambassador to be conciliated. We had seven of them in ten 
months last year. 

Cesar (contritely) . It is true, Rufio ! I shall never break 
myself of these petty deceits. 

Rufio. Who is to dine with us — besides Cleopatra? 

Cesar. Apollodorus the Sicilian. 

Rufio. That popinjay! 

Caesar. Come! the popinjay is an amusing dog — tells a 
story; sings a song; and saves us the trouble of flattering the 
Queen. What does she care for old politicians and camp- 
fed bears like us? No: Apollodorus is good company, Rufio, 
good company. 

Rufio. Well, he can swim a bit and fence a bit: he might 
be worse, if he only knew how to hold his tongue. 

Cesar. The gods forbid he should ever learn! Oh, this 
military life! this tedious, brutal life of action! That is the 
worst of us Romans: we are mere doers and drudgers: a 
swarm of bees turned into men. Give me a good talker — 
one with wit and imagination enough to live without con- 
tinually doing something! 

Rufio. Ay! a nice time he would have of it with you 
when dinner was over! Have you noticed that I am before 
my time? 

Cesar. Aha! I thought that meant something. What 
is it? 

Rufio. Can we be overheard here? 

Cesar. Our privacy invites eavesdropping. I can rem- 
edy that. (He claps his hands twice. The curtains are 
drawn, revealing the roof garden with a banqueting table set 
across in the middle for four persons, one at each end, and two 
side by side. The side neod C&sar and Rufio is blocked with 
golden wine vessels and basins. A gorgeous major-domo is 
superintending the laying of the table by a staff of slaves. The 
colonnade goes round the garden at both sides to the further 
end, where a gap in it, like a great gateway, leaves the view 



Act IV Csesar and Cleopatra 87 

open to the sky beyond the ivestern edge of the roof, except in 
the middle, where a life size image of Ra, seated on a huge 
plinth, towers up, with hawk head and crown of asp and disk. 
y/tlis altar, which stands at his feet, is a single white stone.) 
Now everybody can see us, nobody will think of listening to 
us. {He sits down on the bench left by the two slaves.) 

Rufio (sitting down on his stool). Pothinus wants to speak 
to you. I advise you to see him: there is some plotting going 
on here among the women. 

Cesar. Who is Pothinus? 

Rufio. The fellow with hair like squirrel's fur — the little 
King's bear leader, whom you kept prisoner. 

Cesar (annoyed). And has he not escaped? 

Rufio. No. 

Cesar (rising imperiously). Why not? You have been 
guarding this man instead of watching the enemy. Have I 
not told you always to let prisoners escape unless there are 
special orders to the contrary ? Are there not enough mouths 
to be fed without him? 

Rufio. Yes; and if you would have a Utile sense and let 
me cut his throat, you would save his rations. Anyhow, he 
won't escape. Three sentries have told him they would 
put a pilum through him if they saw him again. What 
more can they do? He prefers to stay and spy on us. So 
would I if I had to do with generals subject to fits of 
clemency. 

Cesar (resuming his seat, argued down). Hm! And so 
he wants to see me. 

Rufio. Ay. I have brought him with me. He is waiting 
there (jerking his thumb over his shoulder) under guard. 

Cjssar. And you want me to see him? 

Rufio (obstinately). I don't want anything. I daresay 
you will do what you like. Don't put it on to me. 

Caesar (with an air of doing it expressly to indulge Rufio). 
Well, well: let us have him. 

Rufio (calling). Ho there, guard! Release your man and 
send him up. {Beckoning) Come along! 



88 Caesar and Cleopatra Act IV 

Pothinus enters and stops mistrustfully between the two, 
looking from one to the other. 

Cesar (graciously). Ah, Pothinus! You are welcome. 
And what is the news this afternoon? 

Pothinus. Csesar: I come to warn you of a danger, and 
to make you an offer. 

Cesar. Never mind the danger. Make the offer. 

Rufio. Never mind the offer. What's the danger? 

Pothinus. Caesar: you think that Cleopatra is devoted 
to you. 

CLesar (gravely). My friend : I already know what I think. 
Come to your offer. 

Pothinus. I will deal plainly. I know not by what 
strange gods you have been enabled to defend a palace and 
a few yards of beach against a city and an army. Since we 
cut you off from Lake Mareotis, and you dug wells in the 
salt sea sand and brought up buckets of fresh water from 
them, we have known that your gods are irresistible, and that 
you are a worker of miracles. I no longer threaten you 

Rufio (sarcastically). Very handsome of you, indeed. 

Pothinus. So be it: you are the master. Our gods sent 
the north west winds to keep you in our hands; but you have 
been too strong for them. 

Cesar (gently urging him to come to the point). Yes, yes, 
my friend. But what then? 

Rufio. Spit it out, man. What have you to say? 

Pothinus. I have to say that you have a traitress in your 
camp. Cleopatra 

The Major-Domo (at the table, announcing). The Queen! 
(C&sar and Rufio rise.) 

Rufio (aside to Pothinus). You should have spat it out 
sooner, you fool. Now it is too late. 

Cleopatra, in gorgeous raiment, enters in state through the 
gap in the colonnade, and comes down past the image of Ra 
and past the table to Casar. Her retinue, headed by Ftata- 
teeta, joins the staff at the table. C&sar gives Cleopatra his 
seat, which she takes. 



Act IV Caesar and Cleopatra 89 

Cleopatra (quickly, seeing Pothinus). What is h e doing 
here? 

Caesar {seating himself beside her, in the most amiable of 
tempers). Just going to tell me something about you. You 
shall hear it. Proceed, Pothinus. 

Pothinus (disconcerted). Caesar — (He stammers.) 

Cesar. Well, out with it. 

Pothinus. What I have to say is for your ear, not for 
the Queen's. 

Cleopatra (with subdued ferocity). There are means of 
making you speak. Take care. 

Pothinus (defiantly) . Caesar does not employ those means. 

Cesar. My friend: when a man has anything to tell in 
this world, the difficulty is not to make him tell it, but to 
prevent him from telling it too often. Let me celebrate my 
birthday by setting you free. Farewell: we shall not meet 
again. 

Cleopatra (angrily). Caesar: this mercy is foolish. 

Pothinus (to Casar). Will you not give me a private 
audience? Your life may depend on it. (Ccesar rises loftily.) 

Rufio (aside to Pothinus). Ass! Now we shall have some 
heroics. 

Cesar (oratorically). Pothinus 

Rufio (interrupting him). Caesar: the dinner will spoil if 
you begin preaching your favourite sermon about life and 
death. 

Cleopatra (priggishly). Peace, Rufio. I desire to hear 
Caesar. 

Rufio (bluntly). Your Majesty has heard it before. You 
repeated it to Apollodorus last week; and he thought it was 
all your own. (Ccesar's dignity collapses. Much tickled, he 
sits down again and looks roguishly at Cleopatra, who is 
furious. Rufio calls as before) Ho there, guard! Pass the 
prisoner out. He is released. (To Pothinus) Now off with 
you. You have lost your chance. 

Pothinus (his temper overcoming his prudence). I w i 1 1 
speak. 



90 Caesar and Cleopatra Act IV 

C^sar (to Cleopatra). You see. Torture would not have 
wrung a word from him. 

Pothinus. Caesar: you have taught Cleopatra the arts by 
which the Romans govern the world. 

Cesar. Alas! they cannot even govern themselves. What 
then? 

Pothinus. What then? Are you so besotted with her 
beauty that you do not see that she is impatient to reign in 
Egypt alone, and that her heart is set on your departure ? 

Cleopatra (rising). Liar! 

Cesar (shocked). What! Protestations! Contradictions! 

Cleopatra (ashamed,, but trembling with suppressed rage). 
No. I do not deign to contradict. Let him talk. (She sits 
down again.) 

Pothinus. From her own lips I have heard it. You are 
to be her catspaw : you are to tear the crown from her broth- 
er's head and set it on her own, delivering us all into her 
hand — delivering yourself also. And then Caesar can return 
to Rome, or depart through the gate of death, which is nearer 
and surer. 

Cesar (calmly). Well, my friend; and is not this very 
natural ? 

Pothinus (astonished) . Natural ! Then you do not resent 
treachery? 

Cesar. Resent! O thou foolish Egyptian, what have I 
to do with resentment? Do I resent the wind when it chills 
me, or the night when it makes me stumble in the darkness? 
Shall I resent youth when it turns from age, and ambition 
when it turns from servitude? To tell me such a story as 
this is but to tell me that the sun will rise to-morrow. 

Cleopatra (unable \o contain herself). But it is false — 
false. I swear it. 

Cesar. It is true, though you swore it a thousand times, 
and believed all you swore. (She is convidsed with motion. 
To screen her, he rises and takes Pothinus to Rufio, saying) 
Come, Rufio: let us see Pothinus past the guard. I have * 
word to say to him. (Aside to them) We must give the 



Act IV Caesar and Cleopatra 91 

Queen a moment to recover herself. (Aloud) Come. (He 
takes Pothinus and Rufio out with him, conversing with them 
meanwhile.) Tell your friends, Pothinus, that they must 
not think I am opposed to a reasonable settlement of the 
country's affairs — (They pass out of hearing.) 

Cleopatra (in a stifled whisper). Ftatateeta, Ftatateeta. 

Ftatateeta (hurrying to her from the table and petting 
her). Peace, child: be comforted 

Cleopatra (interrupting her). Can they hear us? 

Ftatateeta. No, dear heart, no. 

Cleopatra. Listen to me. If he leaves the Palace alive, 
never see my face again. 

Ftatateeta. He? Poth 

Cleopatra (striking her on the mouth). Strike his life out 
as I strike his name from your lips. Dash him down from 
the wall. Break him on the stones. Kill, kill, kill him. 

Ftatateeta (shewing all her teeth) . The dog shall perish. 

Cleopatra. Fail in this, and you go out from before me 
for ever. 

Ftatateeta (resolutely). So be it. You shall not see my 
face until his eyes are darkened. 

Coesar comes back, with Apollodorus, exquisitely dressed, 
and Rufio. 

Cleopatra (to Ftatateeta). Come soon — soon. (Ftatateeta 
turns her meaning eyes for a moment on her mistress; then 
goes grimly away past Ra and out. Cleopatra runs like a 
gazelle to C&sar) So you have come back to me, Caesar. 
(Caressingly) I thought you were angry. Welcome, Apollo- 
dorus. (She gives him her hand to kiss, with her other arm 
about Ccesar.) 

Apollodorus. Cleopatra grows more womanly beautiful 
from week to week. 

Cleopatra. Truth, Apollodorus? 

Apollodorus. Far, far short of the truth! Friend Rufio 
threw a pearl into the sea: Caesar fished up a diamond. 

Caesar. Caesar fished up a touch of rheumatism, my friend. 
Come: to dinner! to dinner! (They move towards the table.) 



92 Cassar and Cleopatra Act IV 

Cleopatra (skipping like a young fawn). Yes, to dinner. 
I have ordered sucha dinner for you, Caesar! 

Cesar. Ay? What are we to have? 

Cleopatra. Peacocks' brains. 

Cesar (as if his mouth watered). Peacocks' brains, 
Apollodorus ! 

Apollodorus. Not for me. I prefer nightingales' tongues. 
(He goes to one of the two covers set side by side.) 

Cleopatra. Roast boar, Rufio! 

Rueio (gluttonously). Good! (He goes to the seat next 
Apollodorus, on his left.) 

Caesar (looking at his seat, which is at the end of the table, 
to Ra's left hand). What has become of my leathern cushion? 

Cleopatra (at the opposite end). I have got new ones for 
you. 

The Major-Domo. These cushions, Caesar, are of Maltese 
gauze, stuffed with rose leaves. 

Cesar. Rose leaves! Am I a caterpillar? (He throws 
the cushions away and seats himself on the leather mattress 
underneath.) 

Cleopatra. What a shame! My new cushions! 

The Major-Domo (at Ccesar 9 s elbow). What shall we 
serve to whet Caesar's appetite? 

Cesar. What have you got? 

The Major-Domo. Sea hedgehogs, black and white sea 
acorns, sea nettles, beccaficoes, purple shellfish 

Cesar. Any oysters? 

The Major-Domo. Assuredly. 

Cesar. British oysters ? 

The Major-Domo (assenting). British oysters, Caesar. 

Cesar. Oysters, then. (The Major-Domo signs to a 
slave at each order; and the slave goes out to execute it.) I 
have been in Britain — that western land of romance — the 
last piece of earth on the edge of the ocean that surrounds 
the world. I went there in search of its famous pearls. The 
British pearl was a fable; but in searching for it I found the 
British oyster. 



Act IV Csesar and Cleopatra 93 

Apollodorus. All posterity will bless you for it. (To the 
Major-Domo) Sea hedgehogs for me. 

Rufio. Is there nothing solid to begin with? 

The Major-Domo. Fieldfares with asparagus 

Cleopatra (interrupting). Fattened fowls! have some 
fattened fowls, Rufio. 

Rufio. Ay, that will do. 

Cleopatra (greedily). Fieldfares for me. 

The Major-Domo. Caesar will deign to choose his wine ? 
Sicilian, Lesbian, Chian 

Rufio (contemptuously). All Greek. 

Apollodorus. Who would drink Roman wine when he 
could get Greek? Try the Lesbian, Caesar. 

Cesar. Bring me my barley water. 

Rufio (with intense disgust). Ugh! Bring me my Fal- 
ernian. ( The Falernian is presently brought to him.) 

Cleopatra (pouting). It is waste of time giving you 
dinners, Caesar. My scullions would not condescend to your 
diet. 

Cesar (relenting). Well, well: let us try the Lesbian. 
(The Major-Domo fills Caesar's goblet; then Cleopatra's and 
Apollodorus 9 s.) But when I return to Rome, I will make 
laws against these extravagances. I will even get the laws 
carried out. 

Cleopatra (coaxingly). Never mind. To-day you are 
to be like other people: idle, luxurious, and kind. (She 
stretches her hand to him along the table.) 

Cesar. Well, for once I will sacrifice my comfort — 
(kissing her hand) there! (He takes a draught of wine.) 
Now are you satisfied? 

Cleopatra. And you no longer believe that I long for 
your departure for Rome? 

Cesar. I no longer believe anything. My brains are 
asleep. Besides, who knows whether I shall return to Rome? 

Rufio (alarmed). How? Eh? What? 

Cesar. What has Rome to shew me that I have not 
seen already? One year of Rome is like another, except 



94 Caesar and Cleopatra Act IV 

that I grow older, whilst the crowd in the Appian Way is 
always the same age. 

Apollodorus. It is no better here in Egypt. The old 
men, when they are tired of life, say "We have seen every- 
thing except the source of the Nile." 

Cesar (his imagination catching fire). And why not see 
that? Cleopatra: will you come with me and track the flood 
to its cradle in the heart of the regions of mystery? Shall 
we leave Rome behind us — Rome, that has achieved great- 
ness only to learn how greatness destroys nations of men who 
are not great! Shall I make you a new kingdom, and build 
you a holy city there in the great unknown? 

Cleopatra (rapturously). Yes, yes. You shall. 

Rufio. Ay: now he will conquer Africa with two legions 
before we come to the roast boar. 

Apollodorus. Come: no scoffing. This is a noble 
scheme: in it Csesar is no longer merely the conquering sol- 
dier, but the creative poet-artist. Let us name the holy city, 
and consecrate it with Lesbian wine. 

Cesar. Cleopatra shall name it herself. 

Cleopatra. It shall be called Caesar's Gift to his Beloved. 

Apollodorus. No, no. Something vaster than that — 
something universal, like the starry firmament. 

Caesar (prosaically). Why not simply The Cradle of the 
Nile? 

Cleopatra. No: the Nile is my ancestor; and he is a 
god. Oh! I have thought of something. The Nile shall 
name it himself. Let us call upon him. (To the Major- 
Domo) Send for him. (The three men stare at one another; 
but the Major-Domo goes out as if he had received the most 
matter-of-fact order.) And (to the retinue) away with you all. 

The retinue withdraws, making obeisance. 

A priest enters, carrying a miniature sphinx with a tiny 
tripod before it. A morsel of incense is smoking in the tripod. 
The priest comes to the table and places the image in the middle 
of it. The light begins to change to the magenta purple of 
the Egyptian sunset, as if the god had brought a strange colored 



Act IV Caesar and Cleopatra 95 

shadow with him. The three men are determined not to be 
impressed; but they feel curious in spite of themselves. 

Cesar. What hocus-pocus is this? 

Cleopatra. You shall see. And it is n o t hocus-pocus. 
To do it properly, we should kill something to please him; 
but perhaps he will answer Caesar without that if we spill 
some wine to him. 

Apollodorus (turning his head to look up over his shoulder 
at Ra). Why not appeal to our hawkheaded friend here? 

Cleopatra (nervously). Sh! He will hear you and be angry. 

Rufio (phlegmatically) . The source of the Nile is out of 
his district, I expect. 

Cleopatra. No: I will have my city named by nobody 
but my dear little sphinx, because it was in its arms that 
Caesar found me asleep. (She languishes at Ccesar; then 
turns curtly to the priest) Go. I am a priestess, and have 
power to take your charge from you. (The priest makes a 
reverence and goes out.) Now let us call on the Nile all 
together. Perhaps he will rap on the table. 

Cesar. What! table rapping! Are such superstitions 
still believed in this year 707 of the Republic? 

Cleopatra. It is no superstition: our priests learn lots 
of things from the tables. Is it not so, Apollodorus? 

Apollodorus. Yes: I profess myself a converted man. 
When Cleopatra is priestess, Apollodorus is devotee. Pro- 
pose the conjuration. 

Cleopatra. You must say with me "Send us thy voice, 
Father Nile." 

All Four (holding their glasses together before the idol). 
Send us thy voice, Father Nile. 

The death cry of a man in mortal terror and agony answers 
them. Appalled, the men set down their glasses, and listen. 
Silence. The purple deepens in the sky. Ccesar, glancing at 
Cleopatra, catches her pouring out her wine before the god, 
with gleaming eyes, and mute assurances of gratitude and 
worship. Apollodorus springs up and runs to the edge of the 
roof to peer down and listen. 



96 Caesar and Cleopatra Act IV 

Cesar (looking 'piercingly at Cleopatra). What was that? 

Cleopatra (petulantly). Nothing. They are beating 
some slave. 

Cesar. Nothing! 

Rufio. A man with a knife in him, I'll swear. 

Caesar (rising). A murder! 

Apollodorus (at the back, waving his hand for silence). 
S-sh! Silence. Did you hear that? 

Caesar. Another cry? 

Apollodorus (returning to the table). No, a thud. Some- 
thing fell on the beach, I think. 

Rufio (grimly, as he rises) . Something with bones in it, eh ? 

Cesar (shuddering). Hush, hush, Rufio. (He leaves the 
table and returns to the colonnade: Rufio following at his left 
elbow, and Apollodorus at the other side.) 

Cleopatra (still in her place at the table). Will you leave 
me, Caesar? Apollodorus: are you going? 

Apollodorus. Faith, dearest Queen, my appetite is gone. 

Cesar. Go down to the courtyard, Apollodorus; and 
find out what has happened. 

Apollodorus nods and goes out, making for the staircase by 
which Rufio ascended. 

Cleopatra. Your soldiers have killed somebody, per- 
haps. What does it matter? 

The murmur of a crowd rises from the beach below. Ccesar 
and Rufio look at one another. 

Caesar. This must be seen to. (He is about to follow 
Apollodorus when Rufio stops him with a hand on his arm as 
Ftatateeta comes back by the far end of the roof, with dragging 
steps, a drowsy satiety in her eyes and in the corners of the 
bloodhound lips. For a moment Ccesar suspects that she is 
drunk with wine. Not so Rufio: he knows well the red vintage 
that has inebriated her.) 

Rufio (in a low tone). There is some mischief between 
those two. 

Ftatateeta. The Queen looks again on the face of her 
servant. 



Act IV Caesar and Cleopatra 97 

Cleopatra looks at her for a moment with an exultant re- 
flection of her murderous expression. Then she flings her 
arms round her; kisses her repeatedly and savagely; and tears 
off her jewels and heaps them on her. The two men turn from 
the spectacle to look at one another. Ftatatceta drags herself 
sleepily to the altar; kneels before Ra; and remains there in 
prayer. Coesar goes to Cleopatra, leaving Rufio in the colon- 
node. 

Cesar (with searching earnestness). Cleopatra: what has 
happened ? 

Cleopatra (in mortal dread of him, bid with her utmost 
cajolery). Nothing, dearest Caesar. (With sickly sweetness, 
her voice almost failing) Nothing. I am innocent. (She 
approaches him affectionately) Dear Caesar: are you angry 
with me? Why do you look at me so? I have been here 
with you all the time. How can I know what has happened? 

Cesar (reflectively). That is true. 

Cleopatra (greatly relieved, trying to caress him). Of 
course it is true. (He does not respond to the caress.) You 
know it is true, Rufio. 

The murmur without suddenly swells to a roar and sub- 
sides. 

Rufio. I shall know presently. (He makes for the altar 
in the burly trot that serves him for a stride, and touches Ftata- 
teeta on the shoulder.) Now, mistress: I shall want you. (He 
orders her, with a gesture, to go before him.) 

Ftatateeta (rising and glowering at him). My place is 
with the Queen. 

Cleopatra. She has done no harm, Rufio. 

Cesar (to Rufio). Let her stay. 

Rufio (sitting down on the altar). Very well. Then my 
place is here too; and you can see what is the matter for 
yourself. The city is in a pretty uproar, it seems. 

Cesar (with grave displeasure). Rufio: there is a time for 
obedience. 

Rufio. And there is a time for obstinacy. (He folds his 
arms doggedly.) 



98 Caesar and Cleopatra Act IV 

Cesar (to Cleopatra). Send her away. 

Cleopatra (whining in her eagerness to propitiate him)* 
Yes, I will. I will do whatever you ask me, Caesar, always, 
because I love you. Ftatateeta: go away. 

Ftatateeta. The Queen's word is my will. I shall be 
at hand for the Queen's call, (She goes out past Ra, as she 
came.) 

Rufio (following her). Remember, Caesar, your body- 
guard also is within call. (He follows her out.) 

Cleopatra, presuming upon Cwsar^s submission to Rufio, 
leaves the table and sits down on the bench in the colonnade. 

Cleopatra. Why do you allow Rufio to treat you so? 
You should teach him his place. 

Cesar. Teach him to be my enemy, and to hide his 
thoughts from me as you are now hiding yours. 

Cleopatra (her fears returning). Why do you say that, 
Csesar? Indeed, indeed, I am not hiding anything. You 
are wrong to treat me like this. (She stifles a sob.) I am 
only a child ; and you turn into stone because you think some 
one has been killed. I cannot bear it. (She purposely 
breaks down and weeps. He looks at her with profound sad- 
ness and complete coldness. She looks up to see what effect she 
is producing. Seeing that he is unmoved, she sits up, pre- 
tending to struggle with her emotion and to put it bravely away.) 
But there: I know you hate tears: you shall not be troubled 
with them. I know you are not angry, but only sad; only 
I am so silly, I cannot help being hurt when you speak coldly. 
Of course you are quite right: it is dreadful to think of any- 
one being killed or even hurt; and I hope nothing really 
serious has — (Her voice dies away under his contemptuous 
penetration.) 

Cesar. What has frightened you into this ? What have 
you done? (A trumpet sounds on the beach below.) Aha! 
that sounds like the answer. 

Cleopatra (sinking back trembling on the bench and cov- 
ering her face with her hands). I have not betrayed you, 
Caesar: I swear it. 



Act IV Caesar and Cleopatra 99 

CiESAR. I know that. I have not trusted you. {He turns 
from her, and is about to go out when Apollodorus and Britan- 
nus drag in Lucius Septimius to him. Rufio follows. Coesar 
shudders.) Again, Pompey's murderer! 

Rufio. The town has gone mad, I think. They are for 
tearing the palace down and driving us into the sea straight 
away. We laid hold of this renegade in clearing them out 
of the courtyard. 

Cesar. Release him. {They let go his arms.) What has 
offended the citizens, Lucius Septimius? 

Lucius. What did you expect, Caesar? Pothinus was a 
favorite of theirs. 

Cesar. What has happened to Pothinus ? I set him free, 
here, not half an hour ago. Did they not pass him out? 

Lucius. Ay, through the gallery arch sixty feet above 
ground, with three inches of steel in his ribs. He is as dead 
as Pompey. W T e are quits now, as to killing — you and I. 

Cesar {shocked). Assassinated! — our prisoner, our guest! 
{He turns reproachfully on Rufio) Rufio 

Rufio {emphatically — anticipating the question). Whoever 
did it was a wise man and a friend of yours {Cleopatra is 
greatly emboldened); but none of u s had a hand in it. So 
it is no use to frown at me. {Casar turns and looks at Cleo- 
patra?) 

Cleopatra {violently — rising). He was slain by order of 
the Queen of Egypt. I am not Julius Caesar the dreamer, 
who allows every slave to insult him. Rufio has said I did 
well: now the others shall judge me too. {She turns to the 
others) This Pothinus sought to make me conspire with 
him to betray Caesar to Achillas and Ptolemy. I refused; 
and he cursed me and came privily to Caesar to accuse me 
of his own treachery. I caught him in the act; and he in- 
sulted me — m e, the Queen! to my face. Caesar would not 
avenge me: he spoke him fair and set him free. W T as I right 
to avenge myself? Speak, Lucius. 

Lucius. I do not gainsay it. But you will get little 
thanks from Caesar for it. 



100 Csesar and Cleopatra Act IV 

Cleopatra. Speak, Apollodorus. Was I wrong? 

Apollodorus. I have only one word of blame, most 
beautiful. You should have called upon me, your knight; 
and in fair duel I should have slain the slanderer. 

Cleopatra {passionately). I will be judged by your very 
slave, Caesar. Britannus: speak. Was I wrong? 

Britannus. Were treachery, falsehood, and disloyalty 
left unpunished, society must become like an arena full of 
wild beasts, tearing one another to pieces. Caesar is in the 
wrong. 

Caesar {with quiet bitterness) . And so the verdict is against 
me, it seems. 

Cleopatra {vehemently). Listen to me, Caesar. If one 
man in all Alexandria can be found to say that I did wrong, 
I swear to have myself crucified on the door of the palace 'by 
my own slaves. 

Cesar. If one man in all the world can be found, now 
or forever, to know that you did wrong, that man will 
have either to conquer the world as I have, or be crucified 
by it. {The uproar in the streets again reaches them.) Do 
you hear? These knockers at your gate are also believers in 
vengeance and in stabbing. You have slain their leader: it 
is right that they shall slay you. If you doubt it, ask your 
four counsellors here. And then in the name of that r i g h t 
{he emphasizes the word with great scorn) shall I not slay 
them for murdering their Queen, and be slain in my turn by 
their countrymen as the invader of their fatherland? Can 
Rome do less then than slay these slayers too, to shew the 
world how Rome avenges her sons and her honor ? And so, 
to the end of history, murder shall breed murder, always in 
the name of right and honor and peace, until the gods are 
tired of blood and create a race that can understand. {Fierce 
uproar. Cleopatra becomes white with terror.) Hearken, you 
who must not be insulted. Go near enough to catch their 
words: you will find them bitterer than the tongue of Pothi- 
nus. {Loftily wrapping himself up in an impenetrable dig- 
nity.) Let the Queen of Egypt now give her orders for 



Act IV Caesar and Cleopatra 101 

vengeance, and take her measures for defence; for she has 
renounced Caesar. (He turns to go.) 

Cleopatra (terrified, running to him and falling on her 
knees). You will not desert me, Caesar. You will defend the 
palace. 

Cesar. You have taken the powers of life and death 
upon you. I am only a dreamer. 

Cleopatra. But they will kill me. 

Cesar. And why not? 

Cleopatra. In pity 

Cesar. Pity! What! has it come to this so suddenly, 
that nothing can save you now but pity ? Did it save Pothi- 
nus? 

She rises, wringing her hands, and goes back to the bench 
in despair. Apollodorus shews his sympathy with her by 
quietly posting himself behind the bench. The sky has by this 
time become the most vivid purple, and soon begins to change 
to a glowing pale orange, against which the colonnade and the 
great image show darkher and darklier. 

Rtjfio. Caesar: enough of preaching. The enemy is at 
the gate. 

Caesar (turning on him and giving way to his ivrath). Ay; 
and what has held him baffled at the gate all these months? 
Was it my folly, as you deem it, or your wisdom? In this 
Egyptian Red Sea of blood, whose hand has held all your 
heads above the waves? (Turning on Cleopatra) And yet, 
when Caesar says to such an one, "Friend, go free," you, 
clinging for your little life to my sword, dare steal out and 
stab him in the back? And you, soldiers and gentlemen, and 
honest servants as you forget that you are, applaud this as- 
sassination, and say "Caesar is in the wrong." By the gods, 
I am tempted to open my hand and let you all sink into the 
flood. 

Cleopatra (with a ray of cunning hope). But, Caesar, if 
you do, you will perish yourself. 

Caesar's eyes blaze. 

Rufio (greatly alarmed). Now, by great Jove, you filthy 



102 Csesar and Cleopatra Act IV 

little Egyptian rat, that is the very word to make him walk 
out alone into the city and leave us here to be cut to pieces. 
(Desperately, to Ccesar) Will you desert us because we are 
a parcel of fools ? I mean no harm by killing: I do it as a dog 
kills a cat, by instinct. We are all dogs at your heels; but we 
have served you faithfully. 

Cesar (relenting), Alas, Ruflo, my son, my son: as dogs 
we are like to perish now in the streets. 

Apollodorus (at his post behind Cleopatra 's seat). Csesar, 
what you say has an Olympian ring in it: it must be right; 
for it is fine art. But I am still on the side of Cleopatra. If 
we must die, she shall not want the devotion of a man's heart 
nor the strength of a man's arm. 

Cleopatra (sobbing). But I don't want to die. 

Cesar (sadly). Oh, ignoble, ignoble! 

Lucius (coming forward between Ccesar and Cleopatra). 
Hearken to me, Csesar. It may be ignoble; but I also mean 
to live as long as I can. 

Cesar. Well, my friend, you are likely to outlive Csesar. 
Is it any magic of mine, think you, that has kept your army 
and this whole city at bay for so long? Yesterday, what 
quarrel had they with me that they should risk their lives 
against me ? But to-day we have flung them down their hero, 
murdered; and now every man of them is set upon clearing 
out this nest of assassins — for such we are and no more. 
Take courage then; and sharpen your sword. Pompey's 
head has fallen; and Caesar's head is ripe. 

Apollodorus. Does Caesar despair? 

Caesar (with infinite pride). He who has never hoped can 
never despair. Caesar, in good or bad fortune, looks his fate 
in the face. 

Lucius. Look it in the face, then; and it will smile as it 
always has on Caesar. 

Cesar (with involuntary haughtiness). Do you presume 
to encourage me? 

Lucius. I offer you my services. I will change sides if 
you will have me. 



Act IV Csesar and Cleopatra 103 

Cesar (suddenly coming down to earth again , and looking 
sharply at him, divining that there is something behind the 
offer). What! At this point? 

Lucius (firmly). At this point. 

Rufio. Do you suppose Caesar is mad, to trust you? 

Lucius. I do not ask him to trust me until he is victorious. 
I ask for my life, and for a command in Caesar's army. And 
since Caesar is a fair dealer, I will pay in advance. 

Cesar . Pay ! How ? 

Lucius. With a piece of good news for you. 

Cwsar divines the news in a flash. 

Rufio. What news? 

Cesar (with an elate and buoyant energy which makes 
Cleopatra sit up and stare). What news! What news, did 
you say, my son Rufio? The relief has arrived: what other 
news remains for us ? Is it not so, Lucius Septimius ? Mith- 
ridates of Pergamos is on the march. 

Lucius. He has taken Pelusium. 

Cesar (delighted). Lucius Septimius: you are henceforth 
my officer. Rufio: the Egyptians must have sent every sol- 
dier from the city to prevent Mithridates crossing the Nile. 
There is nothing in the streets now but mob — mob! 

Lucius. It is so. Mithridates is marching by the great 
road to Memphis to cross above the Delta. Achillas will fight 
him there. 

Cesar (all audacity). Achillas shall fight Caesar there. 
See, Rufio. (He runs to the table; snatches a napkin; and 
draws a plan on it with his finger dipped in wine, whilst Rufio 
and Lucius Septimius crowd about him to watch, all looking 
closely, for the light is now almost gone.) Here is the palace 
(pointing to his plan): here is the theatre. You (to Rufio) 
take twenty men and pretend to go by t h a t street (pointing 
it out); and whilst they are stoning you, out go the cohorts 
by this and this. My streets are right, are they, Lucius? 

Lucius. Ay, that is the fig market — — 

Cesar (too much excited to listen to him). I saw them the 
day we arrived. Good! (He throws the napkin on the table 



104 Caesar and Cleopatra Act IV 

and comes down again into the colonnade.) Away, Britannus : 
tell Petronius that within an hour half our forces must take 
ship for the western lake. See to my horse and armor. 
(Britannus runs out.) With the rest, / shall march round the 
lake and up the Nile to meet Mithridates. Away, Lucius; 
and give the word. 

Lucius hurries out after Britannus. 

Rufio. Come: this is something like business. 

CLesar (buoyantly). Is it not, my only son? (He claps 
his hands. The slaves hurry in to the table.) No more of this 
mawkish revelling: away with all this stuff: shut it out of my 
sight and be off with you. (The slaves begin to remove the 
table; and the curtains are drawn, shutting in the colonnade.) 
You understand about the streets, Ruflo? 

Rufio. Ay, I think I do. I will get through them, at all 
events. 

The bucina sounds busily in the courtyard beneath. 

CLesar. Come, then: we must talk to the troops and 
hearten them. You down to the beach: I to the courtyard. 
(He makes for the staircase.) 

Cleopatra (rising from her seat, where she has been quite 
neglected all this time, and stretching out her hands timidly fa 
him). Caesar. 

Cesar (turning). Eh? 

Cleopatra. Have you forgotten me? 

Cesar (indulgently). I am busy now, my child, busy. 
When I return your affairs shall be settled. Farewell; and be 
good and patient. 

He goes, preoccupied and quite indifferent. She stands with 
clenched fists, in speechless rage and humiliation. 

Rufio. That game is played and lost, Cleopatra. The 
woman always gets the worst of it. 

Cleopatra (haughtily). Go. Follow your master. 

Rufio (in her ear, with rough familiarity). A word first. 
Tell your executioner that if Pothinus had been properly 
killed — i n the throa t — he would not have called out. 
Your man bungled his work. 



Act IV Csesar and Cleopatra 105 

Cleopatra (enigmatically). How do you know it was a 



man 



Rufio (startled, and puzzled). It was not you: you were 
with us when it happened. (She turns her back scornfully on 
him. He shakes his head, and draws the curtains to go out. 
It is now a magnificent moonlit night. The table has been 
removed. Ftatateeta is seen in the light of the moon and stars, 
again in prayer before the white altar-stone of Ra. Rufio 
starts; closes the curtains again softly; and says in a low voice 
to Cleopatra) Was it she? with her own hand? 

Cleopatra (threateningly). Whoever it was, let my ene- 
mies beware of her. Look to it, Rufio, you who dare make 
the Queen of Egypt a fool before Caesar. 

Rufio (looking grimly at her). I will look to it, Cleo- 
patra. (He nods in confirmation of the promise, and slips out 
through the curtains, loosening his sivord in its sheath as he 
goes.) 

Roman Soldiers (in the courtyard below). Hail, Caesar I 
Hail, hail! 

Cleopatra listens. The bucina sounds again, followed by 
several trumpets. 

Cleopatra (wringing her hands and calling). Ftatateeta. 
Ftatateeta. It is dark; and I am alone. Come to me. 
(Silence.) Ftatateeta. (Louder.) Ftatateeta. (Silence. In 
a panic she snatches the cord and pulls the curtains apart.) 

Ftatateeta is lying dead on the altar of Ra, with her throat 
cut. Her blood deluges the white stone. 

END OF ACT IV. 



ACT V 

High noon. Festival and military pageant on the esplanade 
before the palace. In the east harbor Ccesar's galley, so gor- 
geously decorated that it seems to be rigged with flowers, is along- 
side the quay, close to the steps Apollodorus descended when he 
embarked with the carpet. A Roman guard is posted there in 
charge of a gangway, whence a red floorcloth is laid doivn the 
middle of the esplanade, turning off to the north opposite the 
central gate in the palace front, which shids in the esplanade on 
the south side. The broad steps of the gate, crowded with Cleo- 
patra's ladies, all in their gayest attire, are like a flower garden. 
The facade is lined by her guard, officered by the same gallants to 
whom Bel Affris announced the coming of Ccesar six months be- 
fore in the old palace on the Syrian border. The north side is 
lined by Roman soldiers, with the townsfolk on tiptoe behind 
them, peering over their heads at the cleared esplanade, in which 
the officers stroll about, chatting. Among these are Belzanor and 
the Persian; also the Centurion, vinewood cudgel in hand, battle 
worn, thick-booted, and much outshone, both socially and deco- 
ratively, by the Egyptian officers. 

Apollodorus makes his way through the townsfolk and calls to 
the officers from behind the Roman line. 

Apollodorus . Hullo ! May I pass ? 

Centurion. Pass Apollodorus the Sicilian there! {The 
soldiers let him through.) 

Belzanor. Is Caesar at hand? 

Apollodorus. Not yet. He is still in the market place. 
I could not stand any more of the roaring of the soldiers ! Af- 
ter half an hour of the enthusiasm of an army, one feels the 
need of a little sea air. 

Persian. Tell us the news. Hath he slain the priests? 



Act V Csesar and Cleopatra 107 

Apollodorus. Not he. They met him in the market 
place with ashes on their heads and their gods in their hands 
They placed the gods at his feet. The only one that was worth 
looking at was Apis : a miracle of gold and ivory work. By my 
advice he offered the chief priest two talents for it. 

Belzanor {appalled) . Apis the all-knowing for two talents ! 
What said the chief priest ? 

Apollodorus. He invoked the mercy of Apis, and asked 
for five. 

Belzanor. There will be famine and tempest in the land 
for this. 

Persian. Pooh! Why did not Apis cause Caesar to be 
vanquished by Achillas? Any fresh news from the war, 
Apollodorus ? 

Apollodorus. The little King Ptolemy was drowned. 

Belzanor. Drowned! How? 

Apollodorus. With the rest of them. Caesar attacked 
them from three sides at once and swept them into the Nile- 
Ptolemy's barge sank. 

Belzanor. A marvelous man, this Caesar! Will he come 
soon, think you ? 

Apollodorus. He was settling the Jewish question when 
I left. 

A flourish of trumpets from the north, and commotion among 
the townsfolk, announces the approach of Caesar. 

Persian. He has made short work of them. Here he 
comes. (He hurries to his post in front of the Egyptian lines.) 

Belzanor (following him). Ho there! Caesar comes. 

The soldiers stand at attention, and dress their lines. Apollo- 
dorus goes to the Egyptian line. 

Centurion (hurrying to the gangway guard). Attention 
there! Caesar comes. 

Caesar arrives in state with Rufio: Britannus following. The 
soldiers receive him with enthusiastic shouting. 

C^sar. I see my ship awaits me. The hour of Caesar's 
farewell to Egypt has arrived. And now, Rufio, what remains 
to be done before I go ? 



108 Caesar and Cleopatra Act V 

Rufio (at his left hand). You have not yet appointed a 
Roman governor for this province. 

Cesar (looking whimsically at him, but speaking with perfect 
gravity). What say you to Mithridates of Pergamos, my re- 
liever and rescuer, the great son of Eupator ? 

Rufio. Why, that you will want him elsewhere. Do you 
forget that you have some three or four armies to conquer on 
your way home ? 

Caesar. Indeed! Well, what say you to yourself? 

Rufio (incredulously). I! la governor! What are you 
dreaming of ? Do you not know that I am only the son of a 
f reedman ? 

Cesar (affectionately). Has not Caesar called you his son? 
(Calling to the whole assembly) Peace awhile there; and hear 
me. 

The Roman Soldiers. Hear Caesar. 

Caesar. Hear the service, quality, rank and name of the 
Roman governor. By service, Caesar's shield; by quality, 
Caesar's friend; by rank, a Roman soldier. (The Roman sol- 
diers give a triumphant shout.) By name, Rufio. (They 
shout again.) 

Rufio (kissing Casar's hand). Ay: I am Caesar's shield; 
but of what use shall I be when I am no longer on Caesar's arm ? 
Well, no matter — (He becomes husky, and turns away to 
recover himself.) 

Cesar. Where is that British Islander of mine ? 

Britannus (coming forward on Casar's right hand). Here, 
Caesar. 

Cesar. Who bade you, pray, thrust yourself into the battle 
of the Delta, uttering the barbarous cries of your native land, 
and affirming yourself a match for any four of the Egyptians, 
to whom you applied unseemly epithets? 

Britannus. Caesar: I ask you to excuse the language that 
escaped me in the heat of the moment. 

Cesar. And how did you, who cannot swim, cross the 
canal with us when we stormed the camp ? 

Britannus. Caesar: I clung to the tail of your horse. 



Act V Csesar and Cleopatra 109 

Caesar. These are not the deeds of a slave, Britannicus, 
but of a free man. 

Britannus. Caesar: I was born free. 

Cesar. But they call you Caesar's slave. 

Britannus. Only as Caesar's slave have I found real free- 
dom. 

Caesar (moved). Well said. Ungrateful that I am, I was 
about to set you free; but now I will not part from you for a 
million talents. (He claps him friendly on the shoulder. Brit- 
annus, gratified, but a trifle shamefaced, takes his hand and 
kisses it sheepishly.) 

Belzanor (to the Persian). This Roman knows how to 
make men serve him. 

Persian. Ay : men too humble to become dangerous rivals 
to him. 

Belzanor. O subtle one ! O cynic ! 

Cesar (seeing Apollodorus in the Egyptian corner and call- 
ing to him). Apollodorus: I leave the art of Egypt in your 
charge. Remember : Rome loves art and will encourage it un- 
grudgingly. 

Apollodorus. I understand, Caesar. Rome will produce 
no art itself; but it will buy up and take away whatever the 
other nations produce. 

Cesar. What! Rome produce no art! Is peace not an 
art? is war not an art? is government not an art? is civiliza- 
tion not an art ? All these we give you in exchange for a few 
ornaments. You will have the best of the bargain. ( Turning 
to Ruflo) And now, what else have I to do before I embark ? 
(Trying to recollect) There is something I cannot remember: 
what c a n it be ? Well, well : it must remain undone : we must 
not waste this favorable wind. Farewell, Rufio. 

Runo. Caesar: I am loth to let you go to Rome without 
your shield. There are too many daggers there. 

Caesar. It matters not: I shall finish my life's work on 
my way back; and then I shall have lived long enough. Be- 
sides: I have always disliked the idea of dying: I had rather 
be killed. Farewell. 



110 Caesar and Cleopatra Act V 

Rtjfio (with a sigh, raising his hands and giving Caesar 
up as incorrigible). Farewell. (They shake hands.) 

Caesar (waving his hand to Apollodorus). Farewell, 
Apollodorus, and my friends, all of you. Aboard! 

The gangway is run out from the quay to the ship. As 
Caesar moves towards it, Cleopatra, cold and tragic, cunningly 
dressed in black, without ornaments or decoration of any kind, 
and thus making a striking figure among the brilliantly dressed 
bevy of ladies as site passes through it, comes from the palace 
and stands on the steps, Coesar does not see her until she 
speaks. 

Cleopatra. Has Cleopatra no part in this leave taking? 

Caesar (enlightened). Ah, I k n e w there was something. 
(To Rufio) How could you let me forget her, Rufio ? (Hast- 
ening to her) Had I gone without seeing you, I should 
never have forgiven myself. (He takes her hands, and brings 
her into the middle of the esplanade. She submits stonily.) Is 
this mourning for me ? 

Cleopatra. No. 

Cesar (remorsefully). Ah, that was thoughtless of me! 
It is for your brother, 

Cleopatra. No. 

Cesar. For whom, then? 

Cleopatra. Ask the Roman governor whom you have 
left us. 

Cesar. Rufio ? 

Cleopatra. Yes: Rufio. (She points at him with deadly 
scorn.) He who is to rule here in Caesar's name, in Caesar's 
way, according to Caesar's boasted laws of life. 

CLesar (dubiously). He is to rule as he can, Cleopatra. 
He has taken the work upon him, and will do it in his own 
way. 

Cleopatra. Not in your way, then? 

Cesar (puzzled). What do you mean by my way? 

Cleopatra. Without punishment. Without revenge. 
Without judgment. 

Cesar (approvingly). Ay: that is the right way, the great 



Act V Caesar and Cleopatra 111 

way, the only possible way in the end. (To Rufio) Believe 
it, Rufio, if you can. 

Rufio. Why, I believe it, Caesar. You have convinced 
me of it long ago. But look you. You are sailing for 
Numidia to-day. Now tell me: if you meet a hungry lion 
there, you will not punish it for wanting to eat you ? 

Caesar (wondering what he is driving at). No. 

Rufio. Nor revenge upon it the blood of those it has 
already eaten. 

CLesar. No. 

Rufio. Nor judge it for its guiltiness. 

Cesar. No. 

Rufio. What, then, will you do to save your life from it? 

Caesar (promptly). Kill it, man, without malice, just as 
it would kill me. What does this parable of the lion mean? 

Rufio. Why, Cleopatra had a tigress that killed men at 
her bidding. I thought she might bid it kill you some day. 
Well, had I not been Caesar's pupil, what pious things might 
I not have done to that tigress? I might have punished it. 
I might have revenged Pothinus on it. 

C^sar (interjects). Pothinus! 

Rufio (continuing). I might have judged it. But I put 
all these follies behind me; and, without malice, only cut its 
throat. And that is why Cleopatra comes to you in mourn- 
ing. 

Cleopatra (vehemently). He has shed the blood of my 
servant Ftatateeta. On your head be it as upon his, Caesar, 
if you hold him free of it. 

Cesar (energetically). On my head be it, then; for it was 
well done. Rufio: had you set yourself in the seat of the 
judge, and with hateful ceremonies and appeals to the gods 
handed that woman over to some hired executioner to be 
slain before the people in the name of justice, never again 
would I have touched your hand without a shudder. But 
this was natural slaying : I feel no horror at it. 

Rufio, satisfied, nods at Cleopatra, mutely inviting her to 
mark that. 



112 Caesar and Cleopatra Act V 

Cleopatra (pettish and childish in her impotence). No: 
not when a Roman slays an Egyptian. All the world will 
now see how unjust and corrupt Caesar is. 

Caesar (taking her hands coaxingly). Come: do not be 
angry with me. I am sorry for that poor Totateeta. (She 
laughs in spite of herself.) Aha! you are laughing. Does 
that mean reconciliation? 

Cleopatra (angry with herself for laughing). No, n o, 
NO!! But it is so ridiculous to hear you call her Totateeta. 

Caesar. What! As much a child as ever, Cleopatra! 
Have I not made a woman of you after all? 

Cleopatra. Oh, it is you who are a great baby: you 
make me seem silly because you will not behave seriously. 
But you have treated me badly; and I do not forgive you. 

Cesar. Bid me farewell. 

Cleopatra. I will not. 

Cesar (coaxing). I will send you a beautiful present 
from Rome. 

Cleopatra (proudly). Beauty from Rome to Egypt 
indeed! What can Rome give me that Egypt cannot give 
me? 

Apollodorus. That is true, Caesar. If the present is 
to be really beautiful, I shall have to buy it for you in Alex- 
andria. 

Caesar. You are forgetting the treasures for which Rome 
is most famous, my friend. You cannot buy them in 
, Alexandria. 

Apollodorus. What are they, Caesar? 

Cesar. Her sons. Come, Cleopatra: forgive me and 
bid me farewell; and I will send you a man, Roman from 
head to heel and Roman of the noblest; not old and ripe 
for the knife; not lean in the arms and cold in the heart; not 
hiding a bald head under his conqueror's laurels; not stooped 
with the weight of the world on his shoulders; but brisk and 
fresh, strong and young, hoping in the morning, fighting in 
the day, and revelling in the evening. Will you take such an 
one in exchange for Caesar? 



Act V Caesar and Cleopatra 113 

Cleopatra {palpitating). His name, his name? 

(Lesar. Shall it be Mark Antony? (She throws herself 
into his arms.) 

Rufio. You are a bad hand at a bargain, mistress, if you 
will swap Caesar for Antony. 

Cesar. So now you are satisfied. 

Cleopatra. You will not forget. 

Cesar. I will not forget. Farewell: I do not think we 
shall meet again. Farewell. (He kisses her on the forehead. 
She is much affected and begins to sniff. He embarks.) 

The Roman Soldiers (as he sets his foot on the gangway) . 
Hail, Caesar; and farewell! 

He reaches the ship and returns Rufio's wave of the hand. 

Apollodorus (to Cleopatra). No tears, dearest Queen: 
they stab your servant to the heart. He will return some 
day. 

Cleopatra. I hope not. But I can't help crying, all the 
same. (She waves her handkerchief to Ccesar; and the ship 
begins to move.) 

The Roman Soldiers (drawing their swords and raising 
them in the air). Hail, Caesar! 



NOTES TO CESAR AND CLEOPATRA 

CLEOPATRA'S CURE FOR BALDNESS 

For the sake of conciseness in a hurried situation I have 
made Cleopatra recommend rum. This, I am afraid, is an 
anachronism: the only real one in the play. To balance it, 
I give a couple of the remedies she actually believed in. 
They are quoted by Galen from Cleopatra's book on Cos- 
metic. 

"For bald patches, powder red sulphuret of arsenic and 
take it up with oak gum, as much as it will bear. Put on 
a rag and apply, having soaped the place well first. I have 
mixed the above with a foam of nitre, and it worked well." 

Several other receipts follow, ending with: "The following 
is the best of all, acting for fallen hairs, when applied with oil 
or pomatum; acts also for falling off of eyelashes or for people 
getting bald all over. It is wonderful. Of domestic mice 
burnt, one part; of vine rag burnt, one part; of horse's teeth 
burnt, one part; of bear's grease one; of deer's marrow one; 
of reed bark one. To be pounded when dry, and mixed with 
plenty of honey til it gets the consistency of honey; then the 
bear's grease and marrow to be mixed (when melted), the 
medicine to be put in a brass flask, and the bald part rubbed 
til it sprouts." 

Concerning these ingredients, my fellow-dramatist, Gilbert 
Murray, who, as a Professor of Greek, has applied to classical 
antiquity the methods of high scholarship (my own method is 
pure divination), writes to me as follows: "Some of this I don't 
understand, and possibly Galen did not, as he quotes your 
heroine's own language. Foam of nitre is, I think, some- 



Notes 115 

thing like soapsuds. Reed bark is an odd expression. It 
might mean the outside membrane of a reed: I do not know 
what it ought to be called. In the burnt mice receipt I take 
it that you first mixed the solid powders with honey, and then 
added the grease. I expect Cleopatra preferred it because 
in most of the others you have to lacerate the skin, prick it, or 
rub it till it bleeds. I do not know what vine rag is. I trans- 
late literally." 



APPARENT ANACHRONISMS 

The only way to write a play which shall convey to the 
general public an impression of antiquity is to make the 
characters speak blank verse and abstain from reference to 
steam, telegraphy, or any of the material conditions of their 
existence. The more ignorant men are, the more convinced are 
they that their little parish and their little chapel is an apex 
to which civilization and philosophy have painfully struggled 
up the pyramid of time from a desert of savagery. Savagery, 
they think, became barbarism; barbarism became ancient 
civilization; ancient civilization became Pauline Christianity; 
Pauline Christianity became Roman Catholicism; Roman 
Catholicism became the Dark Ages; and the Dark Ages were 
finally enlightened by the Protestant instincts of the English 
race. The whole process is summed up as Progress with a 
capital P. And any elderly gentleman of Progressive tem- 
perament will testify that the improvement since he was a boy 
is enormous. 

Now if we count the generations of Progressive elderly 
gentlemen since, say, Plato, and add together the successive 
enormous improvements to which each of them has testified, 
it will strike us at once as an unaccountable fact that the 
world, instead of having been improved in 67 generations out 
of all recognition, presents, on the whole, a rather less dig- 
nified appearance in Ibsen's Enemy of the People than in 
Plato's Republic. And in truth, the period of time covered 



116 Caesar and Cleopatra 

by history is far too short to allow of any perceptible progress 
in the popular sense of Evolution of the Human Species. 
The notion that there has been any such Progress since 
Caesar's time (less than 20 centuries) is too absurd for dis- 
cussion. All the savagery, barbarism, dark ages and the 
rest of it of which we have any record as existing in the past, 
exists at the present moment. A British carpenter or stone- 
mason may point out that he gets twice as much money for 
his labor as his father did in the same trade, and that his 
suburban house, with its bath, its cottage piano, its drawing- 
room suite, and its album of photographs, would have shamed 
the plainness of his grandmother's. But the descendants of 
feudal barons, living in squalid lodgings on a salary of fifteen 
shillings a week instead of in castles on princely revenues, do 
not congratulate the world on the change. Such changes, in 
fact, are not to the point. It has been known, as far back as 
our records go, that man running wild in the woods is different 
to man kennelled in a city slum ; that a dog seems to understand 
a shepherd better than a hewer of wood and drawer of water 
can understand an astronomer; and that breeding, gentle 
nurture and luxurious food and shelter will produce a kind of 
man with whom the common laborer is socially incompatible. 
The same thing is true of horses and dogs. Now there is 
clearly room for great changes in the world by increasing the 
percentage of individuals who are carefully bred and gently 
nurtured, even to finally making the most of every man and 
woman born. But that possibility existed in the days of the 
Hittites as much as it does to-day. It does not give the slight- 
est real support to the common assumption that the civilized 
contemporaries of the Hittites were unlike their civilized de- 
scendants to-day. 

This would appear the tritest commonplace if it were not 
that the ordinary citizen's ignorance of the past combines 
with his idealization of the present to mislead and flatter him. 
Our latest book on the new railway across Asia describes the 
dulness of the Siberian farmer and the vulgar pursepride of 
the Siberian man of business without the least consciousness 



Notes 117 

that the sting of contemptuous instances given might have 
been saved by writing simply " Farmers and provincial pluto- 
crats in Siberia are exactly what they are in England." The 
latest professor descanting on the civilization of the Western 
Empire in the fifth century feels bound to assume, in the teeth 
of his own researches, that the Christian was one sort of ani- 
mal and the Pagan another. It might as well be assumed, 
as indeed it generally is assumed by implication, that a mur- 
der committed with a poisoned arrow is different to a murder 
committed with a Mauser rifle. All such notions are illusions. 
Go back to the first syllable of recorded time, and there you 
will find your Christian and your Pagan, your yokel and your 
poet, helot and hero, Don Quixote and Sancho, Tamino and 
Papageno, Newton and bushman unable to count eleven, all 
alive and contemporaneous, and all convinced that they are 
the heirs of all the ages and the privileged recipients of the 
truth (all others damnable heresies), just as you have them 
to-day, flourishing in countries each of which is the bravest 
and best that ever sprang at Heaven's command from out 
the azure main. 

Again, there is the illusion of "increased command over 
Nature," meaning that cotton is cheap and that ten miles 
of country road on a bicycle have replaced four on foot. But 
even if man's increased command over Nature included any 
increased command over himself (the only sort of command 
relevant to his evolution into a higher being), the fact remains 
that it is only by running away from the increased command 
over Nature to country places where Nature is still in prim- 
itive command over Man that he can recover from the effects 
of the smoke, the stench, the foul air, the overcrowding, the 
racket, the ugliness, the dirt which the cheap cotton costs us. 
If manufacturing activity means Progress, the town must 
be more advanced than the country; and the field laborers 
and village artizans of to-day must be much less changed 
from the servants of Job than the proletariat of modern London 
from the proletariat of Csesar's Rome. Yet the cockney pro- 
letarian is so inferior to the village laborer that it is only by 



118 Caesar and Cleopatra 

steady recruiting from the country that London is kept alive. 
This does not seem as if the change since Job's time were Prog- 
ress in the popular sense: quite the reverse. The common 
stock of discoveries in physics has accumulated a little: that 
is all. 

One more illustration. Is the Englishman prepared to 
admit that the American is his superior as a human being? 
I ask this question because the scarcity of labor in America 
relatively to the demand for it has led to a development of 
machinery there, and a consequent "increase of command 
over Nature" which makes many of our English methods 
appear almost medieval to the up-to-date Chicagoan. This 
means that the American has an advantage over the English- 
man of exactly the same nature that the Englishman has 
over the contemporaries of Cicero. Is the Englishman pre- 
pared to draw the same conclusion in both cases? I think 
not. The American, of course, will draw it cheerfully; but 
I must then ask him whether, since a modern negro has a 
greater "command over Nature" than Washington had, we 
are also to accept the conclusion, involved in his former one, 
that humanity has progressed from Washington to the fin de 
siecle negro. 

Finally, I would point out that if life is crowned by its 
success and devotion in industrial organization and ingenuity, 
we had better worship the ant and the bee (as moralists urge 
us to do in our childhood), and humble ourselves before the 
arrogance of the birds of Aristophanes. 

My reason then for ignoring the popular conception of 
Progress in Csesar and Cleopatra is that there is no reason 
to suppose that any Progress has taken place since their time. 
But even if I shared the popular delusion, I do not see that I 
could have made any essential difference in the play. I can 
only imitate humanity as I know it. Nobody knows whether 
Shakespear thought that ancient Athenian joiners, weavers, 
or bellows menders were any different from Elizabethan ones; 
but it is quite certain that ne could not have made them so, 
unless, indeed, he had played the literary man and made 



Notes 119 

Quince say, not "Is all our company here?" but "Bottom: 
was not that Socrates that passed us at the Piraeus with Glaucon 
and Polemarchus on his way to the house of Kephalus." 
And so on. 

CLEOPATRA 

Cleopatra was only sixteen when Caesar went to Egypt; 
but in Egypt sixteen is a riper age than it is in England. The 
childishness I have ascribed to her, as far as it is childishness 
of character and not lack of experience, is not a matter of 
years. It may be observed in our own climate at the present 
day in many women of fifty. It is a mistake to suppose that 
the difference between wisdom and folly has anything to do 
with the difference between physical age and physical youth. 
Some women are younger at seventy than most women at 
seventeen. 

It must be borne in mind, too, that Cleopatra was a queen, 
and was therefore not the typical Greek-cultured, educated 
Egyptian lady of her time. To represent her by any such 
type would be as absurd as to represent George IV by a type 
founded on the attainments of Sir Isaac Newton. It is true 
that an ordinarily well educated Alexandrian girl of her time 
would no more have believed bogey stories about the Romans 
than the daughter of a modern Oxford professor would be- 
lieve them about the Germans (though, by the way, it is 
possible to talk great nonsense at Oxford about foreigners 
when we are at war with them). But I do not feel bound to 
believe that Cleopatra was well educated. Her father, the 
illustrious Flute Blower, was not at all a parent of the Oxford 
professor type. And Cleopatra was a chip of the old block. 

BRITANNUS 

I find among those who have read this play in manuscript 
a strong conviction that an ancient Briton could not possibly 
have been like a modern one. I see no reason to adopt this 



120 Caesar and Cleopatra 

curious view. It is true that the Roman and Norman con- 
quests must have for a time disturbed the normal British 
type produced by the climate. But Britannus, born before 
these events, represents the unadulterated Briton who fought 
Caesar and impressed Roman observers much as we should 
expect the ancestors of Mr. Podsnap to impress the cultivated 
Italians of their time. 

I am told that it is not scientific to treat national character 
as a product of climate. This only shews the wide difference 
between common knowledge and the intellectual game called 
science. We have men of exactly the same stock, and speak- 
ing the same language, growing in Great Britain, in Ireland, 
and in America. The result is three of the most distinctly 
marked nationalities under the sun. Racial characterises 
are quite another matter. The difference between a Jew and 
a Gentile has nothing to do with the difference between an 
Englishman and a German. The characteristics of Britannus 
are local characteristics, not race characteristics. In an an- 
cient Briton they would, I take it, be exaggerated, since modern 
Britain, disforested, drained, urbanified and consequently 
cosmopolized, is presumably less characteristically British 
than Caesar's Britain. 

And again I ask does anyone who, in the light of a competent 
knowledge of his own age, has studied history from contempo- 
rary documents, believe that 67 generations of promiscuous 
marriage have made any appreciable difference in the human 
fauna of these isles? Certainly I do not. 



JULIUS CESAR 

As to Caesar himself, I have purposely avoided the usual 
anachronism of going to Caesar's books, and concluding that 
the style is the man. That is only true of authors who have 
the specific literary genius, and have practised long enough 
to attain complete self-expression in letters. It is not true 
even on these conditions in an age when literature is conceived 



Notes 121 

as a game of style, and not as a vehicle of self-expression by 
the author. Now Caesar was an amateur stylist writing books 
of travel and campaign histories in a style so impersonal that 
the authenticity of the later volumes is disputed. They 
reveal some of his qualities just as the Voyage of a Naturalist 
Round the World reveals some of Darwin's, without express- 
ing his private personality. An Englishman reading them 
would say that Caesar was a man of great common sense and 
good taste, meaning thereby a man without originality or 
moral courage. 

In exhibiting Caesar as a much more various person than 
the historian of the Gallic wars, I hope I have not succumbed 
unconsciously to the dramatic illusion to which all great men 
owe part of their reputation and some the whole of it. I 
admit that reputations gained in war are specially questionable. 
Able civilians taking up the profession of arms, like Caesar 
and Cromwell, in middle age, have snatched all its laurels 
from opponent commanders bred to it, apparently because 
capable persons engaged in military pursuits are so scarce that 
the existence of two of them at the same time in the same hemi- 
sphere is extremely rare. The capacity of any conqueror is 
therefore more likely than not to be an illusion produced by 
the incapacity of his adversary. At all events, Caesar might 
have won his battles without being wiser than Charles XII 
or Nelson or Joan of Arc, who were, like most modern "self- 
made" millionaires, half-witted geniuses, enjoying the worship 
accorded by all races to certain forms of insanity. But Caesar's 
victories were only advertisements for an eminence that would 
never have become popular without them. Caesar is greater off 
the battle field than on it. Nelson off his quarterdeck was 
so quaintly out of the question that when his head was injured 
at the battle of the Nile, and his conduct became for some 
years openly scandalous, the difference was not important 
enough to be noticed. It may, however, be said that peace 
hath her illusory reputations no less than war. And it is 
certainly true that in civil life mere capacity for work — the 
power of killing a dozen secretaries under you, so to speak, 



122 Caesar and Cleopatra 

as a life-or-death courier kills horses — enables men with com- 
mon ideas and superstitions to distance all competitors in the 
strife of political ambition. It was this power of work that 
astonished Cicero as the most prodigious of Caesar's gifts, 
as it astonished later observers in Napoleon before it wore 
him out. How if Caesar were nothing but a Nelson and a 
Gladstone combined ! a prodigy of vitality without any special 
quality of mind! nay, with ideas that were worn out before 
he was born, as Nelson's and Gladstone's were! I have con- 
sidered that possibility too, and rejected it. I cannot cite all 
the stories about Caesar which seem to me to shew that he 
was genuinely original; but let me at least point out that I 
have been careful to attribute nothing but originality to him. 
Originality gives a man an air of frankness, generosity, and 
magnanimity by enabling him to estimate the value of truth, 
money, or success in any particular instance quite indepen- 
dently of convention and moral generalization. He therefore 
will not, in the ordinary Treasury bench fashion, tell a lie 
which everybody knows to be a lie (and consequently expects 
him as a matter of good taste to tell). His lies are not found 
out: they pass for candors. He understands the paradox of 
money, and gives it away when he can get most for it: in other 
words, when its value is least, which is just when a common 
man tries hardest to get it. He knows that the real moment 
of success is not the moment apparent to the crowd. Hence, 
in order to produce an impression of complete disinterested- 
ness and magnanimity, he has only to act with entire selfish- 
ness ; and this is perhaps the only sense in which a man can be 
said to be naturally great. It is in this sense that I have 
represented Caesar as great. Having virtue, he has no need 
of goodness. He is neither forgiving, frank, nor generous, 
because a man who is too great to resent has nothing to forgive; 
a man who says things that other people are afraid to say need 
be no more frank than Bismarck was; and there is no gener- 
osity in giving things you do not want to people of whom you 
intend to make use. This distinction between virtue and 
goodness is not understood in England: hence the poverty 



Notes 128 

of our drama in heroes. Our stage attempts at them are mere 
goody-goodies. Goodness, in its popular British sense of self- 
denial, implies that man is vicious by nature, and that supreme 
goodness is supreme martyrdom. Not sharing that pious 
opinion, I have not given countenance to it in any of my plays. 
In this I follow the precedent of the ancient myths, which 
represent the hero as vanquishing his enemies, not in fair fight, 
but with enchanted sword, superequine horse and magical 
invulnerability, the possession of which, from the vulgar 
moralistic point of view, robs his exploits of any merit whatever. 

As to Caesar's sense of humor, there is no more reason to 
assume that he lacked it than to assume that he was deaf or 
blind. It is said that on the occasion of his assassination by 
a conspiracy of moralists (it is always your moralist who 
makes assassination a duty, on the scaffold or off it), he de- 
fended himself until the good Brutus struck him, when he 
exclaimed "What! you too, Brutus!" and disdained further 
fighto If this be true, he must have been an incorrigible 
comedian. But even if we waive this story, or accept the 
traditional sentimental interpretation of it, there is still abun- 
dant evidence of his lightheadedness and adventurousness. 
Indeed it is clear from his whole history that what has been 
called his ambition was an instinct for exploration. He had 
much more of Columbus and Franklin in him than of Henry V. 

However, nobody need deny Caesar a share, at least, of 
the qualities I have attributed to him. All men, much more 
Julius Caesars, possess all qualities in some degree. The 
really interesting question is whether I am right in assuming 
that the way to produce an impression of greatness is by ex- 
hibiting a man, not as mortifying his nature by doing his 
duty, in the manner which our system of putting little men 
into great positions (not having enough great men in our 
influential families to go round) forces us to inculcate, but 
as simply doing what he naturally wants to do. For this raises 
the question whether our world has not been wrong in its 
moral theory for the last 2,500 years or so. It must be a con- 
stant puzzle to many of us that the Christian era, so excellent 



124 Caesar and Cleopatra 

in its intentions, should have been practically such a very 
discreditable episode in the history of the race. I doubt if 
this is altogether due to the vulgar and sanguinary sensational- 
ism of our religious legends, with their substitution of gross 
physical torments and public executions for the passion of 
humanity. Islam, substituting voluptuousness for torment 
(a merely superficial difference, it is true) has done no better. 
It may have been the failure of Christianity to emancipate 
itself from expiatory theories of moral responsibility, guilt, 
innocence, reward, punishment, and the rest of it, that baffied 
its intention of changing the world. But these are bound up 
in all philosophies of creation as opposed to cosmism. They 
may therefore be regarded as the price we pay for popular 
religion. 



THREE PLAYS 

BY BRIEUX 

(Member of the French Academy) 

MATERNITY 

DAMAGED GOODS 

THE THREE DAUGHTERS OF 

MONSIEUR DUPONT 

WITH PREFACE BY BERNARD SHAW 
Translated into English 

By Mrs. BERNARD SHAW, ST. JOHN HANKIN 
and JOHN POLLOCK 

I2mo. Cloth, price $L50 net 

"In that kind of comedy," writes BERNARD SHAW, 
" which is so true to life that we have to call it tragi-comedy, 
and which is not only an entertainment but a history and a 
criticism of contemporary morals, BRIEUX is incomparably 
the greatest writer France has produced since Moliere " 

The three plays in this volume are a first instalment into 
English of the work of a man who has been admitted into the 
French Academy for his splendid achievements, and who is 
recognized by the best thinkers in Europe as one of the pro- 
foundest moral forces expressing itself as literature to-day. 

No earnest man or woman can read these plays without 
being deeply moved and deeply touched. One of the plays 
was read by Brieux himself, at the special invitation of the 
pastor, from the pulpit of a church in Geneva. 



BRENTANO'S 

Fifth Avenue and 27th Street New York 



BERNARD SHAW'S 
PLAYS 

The following Plays by Bernard Shaw are issued 
in separate volumes, bound in stiff paper wrappers. 

Price 40 cents net per volume 

WIDOWERS' HOUSES 

THE PHILANDERER 

MRS. WARREN'S PROFESSION 

ARMS AND THE MAN 

CANDIDA 

YOU NEVER CAN TELL 

THE ADMIRABLE BASHVILLE 

THE DEVIL'S DISCIPLE 

C/ESAR AND CLEOPATRA 

CAPTAIN BRASSBOUND'S CONVERSION 

MAN AND SUPERMAN 

JOHN BULL'S OTHER ISLAND 

MAJOR BARBARA 

THE MAN OF DESTINY, AND HOW HE 

LIED TO HER HUSBAND 
THE DOCTOR'S DILEMMA 
GETTING MARRIED 
THE SHEWING-UP OF BLANCO POSNE'l 
PRESS CUTTINGS 

BRENTANO'S 

Fifth Avenue and 27th Street New York 




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Treatment Date: May 2009 

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